
Book 4&15_ 

Copyright^ ^i^Q^_ 

COPYRIGHT DEPOSIT. 



SELECT RECITATIONS, ORATIONS, 

AND 

DRAMATIC SCENES. 



WITH ACTIONS AND EMPHASIS. 



No. I. ARM MOVEMENTS. 





Arm rising — Hand hanging downwards. 



Arm falling—Hand pointing upward 




Arm moving outwards — Hand pointing across the body. 



7. 





Arm moving inwards— Hand pointing outwards. 



No. II. HAND POSITIONS. 





ANTONY'S SPEECH. 
(See page 79.) 



SELECT 

RECITATIONS, ORATIONS 

AND 

DRAMATIC SCENES 

WITH 

ACTIONS AND EMPHASIS 

AN ELOCUTIONARY MANUAL 

Containing ioo Selections from the Leading 

POETS, ORATORS, AND DRAMATISTS 

Supplied with Copious and Minute Directions 

FOR THEIR CORRECT, GRACEFUL AND 

IMPRESSIVE DELIVERY 

WITH AN APPENDIX: 

A FEW REMARKS ON VOICE AND EXPRESSION 

BY 

C. J. BIRBECK 

Professor of Elocution and English Literature 
With Ten Full-Page Illustrations 



NEW YORK 

JOSEPH F. WAGNER 

103 FIFTH AVENUE 



THE U»RA*Y OF 
CONGRESS, 

Two Coww Hecbvp, 

APR, 4 1902 

Copvwwt entry 
CLASS C^XXc No 

h o 5 o *) 

COPY & 7 



« 



^ 






v 



Copyright, 1900, by 
JOSEPH F. WAGNER 



Copyright, 1902, by 
JOSEPH F. WAGNER 



INTRODUCTION. 



GENERAL HINTS ON READING AND RECITING. 



THE advantages evolving from the study and practice of elocu- 
tion even for those who are not destined for the life of a public 
speaker are too numerous and valuable to be overlooked. 

Until quite recently our academies, high schools and colleges did not 
pay the requisite attention to this essential branch of art. Now, 
realizing the benefits, physical, useful and ornamental, accruing to 
the pupil from the study of the above as well as the aid which it 
furnishes to other kindred studies in the curriculum, a certain 
allotted time, weekly, is spent in the memorization and recital of 
prose and poetical selections taken frequently from the standard 
English and American classics. 

Attention is paid more particularly to the proper interpretation of 
the author's lines. Emphasis, which helps to bring so forcibly before 
the auditor's attention the meaning of the author — Inflection, which 
by the sliding of the voice upward and downward breaks up the 
monotony of the reading, once so painfully prevalent, and rendering 
the result agreeable to the ear — the invaluable benefit of Pauses— 
the accuracy and distinctness of Enunciation and the proper placing 
of the Accent on words — these form essential adjuncts in the educa- 
tion of every student. 

The practice necessary to obtain ease, grace and effectiveness in 
posture, expression and gesture, in conjunction with an advance 
toward vocal perfection, tend to make a completeness which all 
aspiring reciters should wish to attain. 

It is frequently asked by the pupil how he should begin the study 
of a recitation. Our advice is this: having made a choice in ac- 
cordance with his years and scholastic attainments he should read 
the same carefully, with concentration of mind from the beginning 
to the end, in order to gain a comprehensive insight of the author's 
meaning. 

If words be found therein of whose meaning he is doubtful, these 
should be looked up in the dictionary. Read the selection through once 
more and aloud in a clear, firm voice, attending strictly to the 
grammatical pauses. 

Find out the emphatic words in the recurring sentences, as to these 
is attached the greatest value. 



VIII INTRODUCTION. 

Endeavor to grasp the spirit of the piece and strive to feel its full 
significance. 

This preliminary work should be done before committing the words 
to memory. 

The recitation should be learned Verbatim; no omissions or inter- 
polations should be made by the pupil without the advice of the teacher 
or a proper guide. He should study faithfully to perfect the details 
of his work and a commensurate success will be the reward. 

The student in oratorical descriptive and strictly declamatory selec- 
tions should possess a natural, dignified and impressive carriage; the 
head gracefully poised, the breast well thrown out, the feet not 
separated too much, whilst maintaining throughout in his bearing a 
well-bred and respectful attitude toward the audience. 

However, the most perfectly elaborated recitation given under the 
best possible circumstances — the voice, diction and orthoepedical con- 
ditions being manifestly cared for, will be greatly marred by the ab- 
sence of well-regulated and appropriate ACTION. 

The ancient Greeks thought so much of action, that they spent 
years in the practice of gesture, posings, expressions and the like. 

The lecturer reading from his manuscript, the college essayist 
giving his well-prepared thoughts, logically arranged and transcribed 
to paper, will be listened to in many cases with but divided atten- 
tion or mayhap not at all; and this due to the fact, chiefly, that 
action is wanted and audiences demand it. 

The object of this work is to bring before the student the strict 
mechanism of gesticulation or general action. 

The explanations for making of the gestures in the following reci- 
tations will be briefly given at the end of the different pieces. 

Our object is to make the work as easy and attractive for the pupil 
as is possible. He frequently forgets the gestures and expressions 
orally explained by the instructor; or otherwise, in preparing a 
recitation by his own unaided efforts, he is frequently at a loss what 
to do. 

When, finally, ease is acquired through this mechanical practice, 
grace of action, flexibility and variety of movement will follow. 

The mind of the pupil will associate certain gestures and facial 
expressions with the certain passionate and emotional passages found 
in the text. 

The object of this work is not to make the pupil an automaton, but 
to aid him over the difficulties which usually beset the path of the 
young aspirant to recitative fame. 

The extracts found in this book have been selected with some care, 
with attention paid to their fitness and the elevating and entertaining 
matter contained in them, also their literary worth. Let us hope 
the one hundred selections contained in this volume may be found 
available and useful. 

C. J. Birbeck. 



CONTENTS. 



Part I.— POETRY. 



NO. PAGE 

1. The Brave Fireman 11 

2. Don't Give Up the Ship. ... 14 

3. Let's Try to Do the Right, 

Boys 15 

4. There's Room for You up 

Higher 16 

5. The Death Ride 18 

6. The Will and the Way. ... 22 

7. The Lesson of the Mill. .... 24 

8. Curfew Must Not Ring To- 

night 26 

9. The Song of the Sword. ... 29 

10. The Spanish Mother 31 

11. The Singing of the Mag- 

nificat 36 

12. The Pride of Battery B 40 

13. The Melancholy Hen 43 

14. The Last Shot 45 

15. Nellie's Prayer 52 

16. The Level Crossing 56 

17. The Twins , 59 

18. The Children. . .-. 61 

19. The Reaper and the Flowers 63 

20. Footsteps of Angels 64 

21. The Story of a Stowaway. . 65 

22. The Main Truck ; or, A Leap 

for Life 69 

23. Auction Extraordinary 70 

24. The Lifeboat 72 

25. Lulu's Complaint 77 

26. Press On. A Valedictory 

Poem 78 

27. Antony's Speech Over Cae- 

sar's Body 79 

28. The Same— Continued 81 

29. The Drowned Mariner 82 

30. Forgive and Forget 84 



The Bridge of Sighs 86 

The Last Minstrel. 88 

The Soldier's Funeral 90 

Excelsior 91 

The Gluttonous Duck 93 

The Exile of Erin 96 

The Slave's Dream 98 

The Wreck of the Hesperus. 100 
The Last of the Red Men. .102 

The Polish Exiles 105 

The Mariner's Dream 106 

The Old Clock on the Stairs. 109 
The Progress of Madness. . .110 
The Collier's Dying Child. .113 

The Raven 115 

The Diver ....121 

Our Folks 125 

Sheridan's Ride 127 

Paul Revere's Ride 129 

The Dream of the Reveller . 132 

Two Loves and a Life 135 

The Country Squire 136 

Rustic Logic 138 

Ask Mamma ! 139 

The Spirit of Contradiction . 142 

The Spider and the Fly 144 

The Slave Ship 146 

Paddle Your Own Canoe . .148 

Somebody's Darling 150 

Papa's Letter 151 

The Unhappy Man 153 

The Deserter 155 

The Polish Boy 157 

Adieux de Marie Stuart 

(French) 160 

Friede (German) 162 



CONTENTS. 



NO. 

66. 
67. 



70. 
71. 

72. 

73. 

74. 

75. 

76. 

77. 
78. 
79. 

80. 



Part II.- 

PAGE 

Freedom and Patriotism. . .163 
NoNationalGreatness With- 
out Morality 165 

True Grandeur of Nations. . 167 

Acquisition of Territory 168 

Liberty and Despotism 171 

The Sabbath 173 

Power of Wealth Produced 

by Labor 175 

Glory of Arms 177 

Fourth of July, 1851 178 

Aspirations of the Amer- 
ican People 180 

Eloquence 183 

Death of Washington 184 

American History 186 

Injustice the Cause of Na- 
tional Ruin 187 

Blessings of Education .... 189 



•PROSE 

NO. PAGE 

81. What is the French Revo- 

lution? 191 

82. Decline of the Celtic Race. . 193 

83. Emmet's Vindication from 

Dishonor 195 

84. A Wild Night at Sea 196 

85. Sorrow for the Dead 199 

86. The Death of Little Dombey201 

87. The Funeral of Little Nell. .205 

88. God is Love 208 

89. The Crucifixion 209 

90. On Infidelity 211 

91. The Death of the Wicked. . .213 

92. On the American War 216 

93. On Napoleon Bonaparte. . .217 

94. Speech of Serjeant Buzfuz .220 

95. The Bashful Man 224 

96. Cardinal Wolsey on his 

Fall 230 



DRAMATIC SCENES. 



97. From the Play: " The Iron 

Chest" 232 

98. From the Play: "William 

Tell" 236 



99. From the Comedy: " The 

Rivals" 239 



100. From the Tragedy: 
beth" 



Mac- 



244 



APPENDIX. 

A Few Remarks on Voice and Expression. . . 



247 



Standard Readings and Recitations urttl) 
Actions and €mpl)a$i$» 



Part L 
Selections of Poetry. 



LOUD. 



2. 



Note.— The words hand plate and arm plate in the footnotes refer to the plates in 
front of the book, and the numbers to the corresponding gestures illustrated on these 
plates. Emphasis must be given to tne words in italics and the pauses marked thus | 
must be well observed. 

1-THE BRAVE FIREMAN. 

Eben E. Rexford. 
1. x Harh — through the wild night's darkness 
Eings out a terrible cry, 
And the woman shudders to hear it 
In the room up close to the sky; 
2 "Fire!" in accents of terror, 
And voices the cry repeat, 
And the fire-bells join in the clamour 
Out in the stormy street. 

8 "God grant we are safe, my darling," 

She says to the child in her arms, 
4 While the voices far down in the darkness 
Add to the bells 7 alarms ; 
Then | she thinks of the two little children 

B Who are sleeping peacefully near, 
And 6ii God pity the people in danger" 
She adds, with a thrill of fear. ^ 

3. The voices ring louder and sliriller. 
7 She hears the swift tread of feet, 

And the sound of engines rumbling 
Below in the stormy street. 
8 "It must be the fire is near us." 

9 She listens; | a step on the stair, 
10 Then the door is flung wide, and beyond it 11 
She sees the red flames' glare. 

4. 12 "Give me the child !" cries the fireman. 
"There's not a moment to spare;" 



FERVENT. 



RAPID. 



INQUIRY. 



QUICK. 



12 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



PATHETIC. 



The flames like a glittering serpent 

Are writhing up the stair. 
firm. 13 "Kc, / will carry my baby." 

And then she points to the bed, 14 
Where the light from the hall shines brightly 

Over a golden bead. 

5. 15 One little head on the pillow — 

One only the fireman sees, 
With flossy curls stirring about it, 
In the breath of the fiery breeze. 
16 He lifts the child, while the other 

Is cuddled away from sight, 
17 And springs down the stair where the flame- 
hounds 
Snarl after their prey in its flight. 

6. 18 On, on, through the fire that leaps round him 

As a swimmer breasts the wave, 
quick. Scorched, and blinded, and breathless, 

loud. To find escape — or a grave ! 

On through the fiery whirlpool 
Till at last he gains the street; 
19 Thanh God! and lays down his burden 20 
Safe at the mother's feet. 

very loud. 7. 21 "One, only onef she cries wildly. 
You have left the other to die!" 
! the terrible, terrible anguish 
That rings in the mother's cry. 
"I will save you, my child, or die with you!" 
And, maddened by love's despair, 
22 She puts her babe from her bosom 

And springs 23 towards the flame-wreathed 
stairs. 



DECISIVE. 



24 You shall not go," he tells her, 
And holds her back from death. 
"I left your child — I will save it — 
If I can," then, catching his breath 25 
For the terrible task before him, 
He 26 leaps up the lurid way. 



THE BRAVE FIREMAN. 



13 



REVER. 
ENTLY. 



LOUD. 
RAPID. 



"God help him!" 27 the awed crowd whispers. 
"He goes to his death," they say. 

9. Moments that seem like ages 

Go by, and he comes not back, 
The flames leap higher and higher, 
28 The frail walls sway and crack. 
pathetic. 29 "0, my lost little child!" cries the mother, 

Forgetting the child at her breast. 
In this moment of awful anguish 
30 She loved the lost one best. 

10. Up from the crowd, 31 all breathless 
With hope, and doubt, and fear,' 

Goes a cry, 32 "Thank God, he's coming 
With the child r and cheer on cheer 33 

Eings through the night, blending strangely 
With the wind and the wild flames' roar, 

As out of the tottering building 
34 The fireman springs once more. 

11. Straight 35 to the mother he staggers 
With the rescued child, and cries — 

"I | left him, | and I" | have | saved him V 
And the hero looks out of his eyes, 
86 Then he falls at her feet ; they crowd round 
him, 
37 And lift his drooping head, 
38 "I — saved — the — child l" he whispers; 
A gasp, and the HEEO IS DEAD. 

1 Hand to ear — advance toward right — expression of expectancy. 
2 Double gesture of No. 6, plate for hands. 3 Hands crossed as in No. 

14 in plate for hands. 4 Point downward. 5 Point to the left. 6 Hands 
together, No. 9, plate for hand. 7 Hand to ear — listening. 8 Hands 
clasped — turning head quickly from side to side. 9 Hand near ear — steps 
to right. 10 Hands together in front flung quickly apart. X1 Points in 
front. 12 Extend both arms. 13 Clasp arms over breast. 14 Points left. 

15 Points left. 16 Bend forward — use hands in the act of lifting. 17 No. 
6, plate for hands. 18 Right hand pointing outward and downward. 
19 Clasp hands — No. 13 hand plate. 20 Both hands open pointing to 
ground. 21 Kneel — head thrown back — right arm extended. 22 Rise — ex- 
tend hands in the act of giving child. 23 Advance rapidly — arms and 
hands forward. 2i Extended hands clinched to be drawn back quickly. 
25 Left hand clasping throat. 2B Throw upward right hand. 27 Hands 
together, No. 9 hand plate. 28 Wave hands and arms from side to side. 
29 No. 4, arm plate. 30 Repeat same. 31 Outward movement, both arms 
as in No. 5, arm plate. 32 Clasp hands. 33 Wave right hand over head. 
34 Point in front. 35 General action of great fatigue. 3S Both hands in- 
clined downward, palms out. 37 Bend well forward — hands in the action 
of lifting, 38 Head back — eyes up — hand on chest. 



SLOW. 



EX- 
HAUSTED. 



SLOW. 
SOLEMN. 



14 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



2-DON'T GIVE UP THE SHIP. 



MEDIUM 
TIME. 



CLEAR 
TONE. 



LOUD. 



Hester Hunt. 



1. You're on the sea of life, 1 boys; 
Your ship is stanch and strong; 
You're sailing smoothly now, boys, 
But storms will come ere long. 
2 Then boldly furl your sail, boys, 

And let the tempest "rip"; 
Stand bravely by the helm, boys, 
3 And "Dont give up the ship I" 



FIRM. 



PLEASANT. 



LOUD. 



IMPRES- 
SIVE. 



LOUD. 



Though clouds o'ercast the sky, 4 boys, 

The sun is bright behind; 
And though the waves roll high, boys, 

They'll soon calm down, 5 you'll find. 
6 So always keep up heart, boys, 

With cheerful eye and lip; 
And let your watchword e'er, boys, 

Be, | 7 "Don't give up the shipl" 

Beyond the raging sea, 8 boys, 

You'll find at last a rest, 
If only on your trip, boys, 

You always do your best. 
There waits for each a crown, 9 boys; 

So take a manly grip; 
10 There waits for all | eternal life 

Who 11 "Dont give up the ship/' 



1 Right arm and hand extended in front. 2 Right arm and hand 
directed upward. 3 Bring hand down front, very forcibly. * Both arms 
and fingers pointing upward and outward. 5 Downward movement of 
depression — fingers loosely extended — palms down. 6 Hands as in No. 
12 of plate giving hand positions. 7 Same as 3 . 8 No. 2 of plate for 
hands. 9 Arm at right angle ; index finger pointing upward. Make cir- 
cular movement indicative of crown. 10 Both hands extended widely apart 
toward audience. n Same as 8 . 



LET'S TRY TO DO THE RIGHT, BOYS. 



15 



WULL 
VOICE. 



STRONG. 



3-LET'S TRY TO DO THE RIGHT, BOYS, 

W. Townsend. 

1. Let's try to do the right, boys, 

Be true men, come what may; 1 
Let's try to do our duty well, 

For that's the manly way. 
For he is brave who does the right, 

And sticks to what is true: 
Then | try to do the right, boys, 2 

Whatever others do. 



2. Let's try to do the right, boys, 3 
However hard it be. 
natural. Let's bravely make a noble stand, 4 

And hold on manfully. 
For he's a man that stands his ground, 

And does the good he may. 
Then | try to do the right, boys, 5 
Whatever others say. 



3. Let's try to do the right, boys, 6 

Try on, through weal and woe; 
Let nothing daunt the loyal heart, 7 

Do all the good you know. 
For strength shall come as need demands 
To help the honest heart : 
8 Then | try to do the right, boys, 
And play a true man's part. 



earnest 4. Let's try to do the right, boys, 
Because it is the right; 9 
Let's nobly stand by what is true, 
And for it boldly fight. 



16 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

For he is true who does his best, 
And makes the right his aim. 
forcible. Then | try to do the right, boys/ 

And win a good man's name. 



1 No. 4 plate for hands. 2 No. 4 plate for hands. 8 No. 1 plate for 
hands, affirmative gesture. 4 Bring hand down strongly on the italicized 
words. 3 Both hands toward audience. Expression on face candid. 
Right hand put forward. 7 Touch breast. 8 Both hands toward audience. 
Head thrown back — step forward with right foot. 9 Wave upward and 
downward the index finger on emphatic words. 10 Wave the right hand 
over head till finish. 



4-THERE'S ROOM FOR YOU UP HIGHER. 

M. E. Sandford. 
moderate 1. I went last night to the land of dreams, 
That mystic, silent land, 
With mountains high, and crystal 1 streams, 

And castles tall and grand. 
An eager, anxious throng I saw 2 

Upon a spreading plain, 
All rushing on, in earnest haste, 3 
The self-same goal to gain. 

%, I looked, and, lo ! a ladder rose 4 
Above the din and strife, 
ment. ' And, looking still, I read these words, 5 

"This is the scale of life." 
And now | I watched the surging crowd, 

Each struggling, oft in vain, 
Upon that crowded lower round 16 
A footing to obtain. 

3. 7? Twas strange to see the many | who 
One effort forth would put, 
And then fall back, content to lie 
8 And grovel at the foot. 



THERE'S ROOM FOR YOU UP HIGHER. 17 

But some I saw, whose dauntless will 

No rude repulse could stay — 
Who grew more strong, with each defeat, 
9 To push their upward way. 



4. A voice that came from lips unseen 10 
Their courage would inspire; 
This seemed the burden of the song — 
EJ sFzi\ "There s room for you up higher/' 

And springing up, with strength renewed, 
The struggle to endure, 
11 They ne'er gave up, until at length 
They gained a footing sure. 



5. Then, 12 step by step, and round by round, 
IVmaBER. They sturdily progressed; 

Each barrier was dashed away 
As upward still they pressed. 
And oft, when toil-worn, faint, and weak, 

Then from the unseen choir 
Would come, in chorus full and strong, 
"There's room for you up higher." 



CLIMAX. 



6. It filled their 13 souls with courage new, 

And gave them strength to win, 
Until they reached the place they sought, 
14 Above the strife and din. 
15 The crowd below, who saw them rise, 

Bewailed the adverse fate 
Which held them down | while 16 others rose 

To fill such high estate. 

7. It never seemed to dawn on them 

The fault could lie 17 within; 
That bold success ne^er waits on those 

Who have no will to win. 
And when, in after waking hours, 

My dream came back to me, 



18 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



I thought the lesson it conveyed 
Was plain and clear to see. 

For those with 18 spirit true and brave, 
Who to better things aspire, 
19 Remember | that, where'er you stand, 
20 "There J s always room up higher/' 



IMPRES- 
SIVE. 



1 Point upward, then downward. 2 Both hands — palms up. 8 Throw 
both hands forward, letting the fingers fall slightly forward. * Point 
upward to the right. 5 Moving the head from side to side appearing to 
look intently. 6 Point downward. 7 Two hands forward, arms at angle 
with body. 8 Point downward, right hand. 9 Elevate right hand obliquely 
from body. 10 Attitude of listening — eyes thrown upward. " Bring hand 
to front with force on the word "ne'er." 12 Imitate the ascending move- 
ment with left hand, gradually till the end of stanza. 18 Both hands 
laid on breast, fingers slightly apart. 14 Point upward. 15 Both hands 
pointing downward. "Elevate hands. 17 Hand on breast. 18 Hand again 
on breast. 19 Wave hand in front warningly. 20 Point upward. 



SLOW. 



5-THE DEATH RIDE. 

A TALE OP THE LIGHT BRIGADE. 

October 25, 185)+. 

Westland Marston. 
We sat mute on our chargers, a handful of 

men, 
As the foe's broken columns 1 swept on to the 
glen 
Like torn trees when the whirlwind comes; 
Cloven helm and rent banner grew dim to our 
ken, 
And faint was the throb of their drums. 



MEDIUM 
PITCH. 



2. But, no longer pursued, 2 where the gorge 
opens deep | 
They halt; with their guns they crowd level 
and steep; 
Seems each volley some monster s breath, 
Who shows cannon for teeth as he crouches | 
to leap 
From his ambushed cavern of death. 



THE DEATH RIDE. 



19 



SLOW. 



STRONG. 



QUESTION- 
ING. 



SOLEMN. 



LOUD. 



3. 3 Their foot throng the defile, 4 they surge on 

the bank; 
Darts a forest of lances in front; 5 o'er each 

flank 
Peer the muskets, a grisly flock; 
They have built their live tower up, rank 

upon rank, 
6 And wait, | fixed, | for an army's shock. 

4. Far in front of our lines, a dot on the plain, 
Mute and moveless we sat till his foam-flecked 

rein 
At our side gallant Nolan drew. 
"They still hold our guns, we must have them 

again/' 
Was his message — lu Advance, pursue!" 

5. ^Pursue them ! What, 9 charge with our hun- 

dreds the foe 
Whose massed thousands await us in order 
below ? 
Yes, such were his words. To debate 
The command was not ours; we had but to 
know, 
And, knowing, encounter our fate. 

6. We ride our last march; let each 10 crest be 

borne high 
We raise our last cheer ; n let it startle the sky 
12 And the land with one | brave farewell, 
For soon | never more to our voice shall reply 
Bock, hollow, fringed river, or dell. 

7. 13 Let our trump ring its loudest, in closest 
array, 
Hoof for hoof, let us ride; for the chief who 
to-day 
Eeview us — is u Death the victorious: 
Let him look up to Fame, as we perish, and 

^y, 
15 " Enroll them, the falVn are the glorious!" 



20 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



QUICK 
TIME. 



QUICK. 



LOW TONE. 



QUICK 
AND 
LOUD. 



VERY LOUD. 



8. We spur to the gorge ; from its channel of ire 
16 Livid light bursts like surf, its spray leaps in 

fire; 
As the spars of some vessel stanch, 
Bold hearts crack and fall; we ne'er 11 swerve 
nor retire, 
But in mid-tempest we launch. 

9. We 18 cleave the smoke billows as wild waves 

the prow; 
19 The flash of our sabres gleams straight like 
the glow 
Which a ploughing keel doth break 
From the grim seas around, with light on her 
bow, 
And light in her surging wake. 

10. We 20 dashed full on their guns; through the 

flare and the roar 
Stood the gunners bare-armed; now | they 

stand there no more, 
The war-throat waits dumb for the ball ; 
For those men pale and mazed to the chine 

we shore, 
21 And their own cannon's smoke was their 

palL 

11. That done, we're at bay; for the foe with a yell 
Piles his legions around us. Their bayonets 

swell 22 
Line on line; we are planted in steel : 
"Good carbine! trusty blade! Each shot is 

a knell, 
Each sword-sweep a fate; they reel!" 

12. 23 One by one fall our men, each girt with his 

slain, 
A death star with belts. Charge! we break 
them in vain ! 
From the heights their batteries roar, 
24 The fire sluices burst, through that flood, in a 
rain 
Of iron, we strike for the shore. 



PATHY. 



THE DEATH RIDE. 21 

13. Thunder answers to thunder, bolts darken the 
air, 25 
To breathe is to die; their funeral glare 
The lit hills on our brave ones rolled. 
What of that? They had entered the lists 
Q ^jfo with despair, 

loud. 26 And the lot which they met, they foretold. 

with sym- 14. Comrade sinks heaped on comrade! A 
ghastly band, 
That fell tide, when it ebbs, shall leave on the 
strand : 
Of swimmers who stemmed it that day 
A spent, shattered remnant we struggle to 
land 
And wish we were even as they. 

15. 27 Britain, my country ! Thy heart be the 
tomb 

Of those who for thee rode fearless to doom, 
The sure doom which they well foreknew? 

Though mad was the summons, they saw in 
the gloom 
Duty beckon — and followed her through. 

16. 28 She told not of trophies — of medal or star, 
Or of glory's sign manual graved in a scar; 

Nor how England's coasts would resound 
When brothers at home | should greet brothers 
from war, 
29 As they leaped upon English ground. 

17. She told not of streets | lined with life up to 
heaven, 

30 0ne vast heart with one cry till the welkin is 

riven — 
31 "0 welcome, ye valiant and tried !" 
She told not of soft arms that clasp the re- 
given, 
She only said, "Die!" — and they died. 



PATHETIC. 



22 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

18. 32 Let Devotion henceforth Balaklava own 
No less than Thermopylae, meet for her throne, 

And thou, Britain — thou mother bereft — 
By the grief for the sleepers who hear not thy 
moan, 
Count the worth of the sons thou hast left. 



1 Sweep gesture with right hand from chest, full outward and hold 
picture till end of sentence. 2 Pointing right. 3 Hands in front. 4 For- 
ward movement with hands. 5 No. 4 plate for hands ; use right and left 
alternately. 6 Hands in front — palms down : attitude of expectancy. 
7 Commanding sweep of the arm to the right. 8 Surprised action — hands 
elevated with palms outward. 9 No. 4 in plate for hands. 10 Touch side 
of the head. u Point upward. 12 Double gesture — hands apart. 13 Bring 
the hand from the mouth outward. 14 Point to the ground. 15 Look up, 
stand erect. 16 Both palms together — then throw the hands as far apart 
as possible. 17 Bring right hand quickly down before you from forehead 
till arm forms an obtuse angle. 18 Shoot forward quickly right hand. 
19 Turn arm and hand in air, imitating sword practice. 20 Step forward, 
arm elevated in advance. 21 Spread out hands in front, palms down. 
22 Point in front. 23 Indicate with finger the several places. 2 * Throw up 
both hands wildly. 25 Point up quickly. 26 Hands clasped in despair. 
27 Hands extended outward and upward — attitude of appealing. 2S Right 
hand extended. 29 Both hands suddenly thrown carelessly forward. 
30 Hand on breast. 31 Arms forward— advance on one foot— chest out. Keep 
position till finish of stanza. 32 Right hand forward — heroic posture till 
end. 



NARRA- 
TIVE 
STYLE. 



6-THE WILL AND THE WAY. 

John 0. Saxe 
1. It was a noble Eoman, 

In Eome's imperial day, 
Who heard a coward croaker, 

Before the battle, say: 
1 "They ? re safe in such a fortress, 
There is no way to shake it- 



2 "0n! onl" exclaimed the hero, 
I'll -find a way, or make it!" 



INTERROG- 
ATIVE. 



2. 3 Is fame your aspiration? 

Her path is steep and high, 
4 In vain he seeks the temple, 
Content to gaze and sigh! 



THE WILL AND THE WAY. 



VIGOROUS. 



The shining throne is waiting, 

But he alone can take it 
Who says, with Eoman firmness, 
5 "FH find a way, or make it." 

3. 6 Is learning your ambition? 
There is no royal road; 
Alike the peer and peasant 
Must climb to her abode; 
7 Who feels the thirst for knowledge, 
In Helicon may slack it, 
If he has still the Eoman will 
8 To "find a way, or make it !" 



DECISIVE. 



VIGOROUS. 



4. 9 Are riches worth the getting? 
They must be bravely sought; 
10 With wishing and with fretting 
The boon that can be bought; 
To all the prize is open, 
But only he can take it 
Who says, with Eoman courage, 
llfc ril find a way, or make it!' 



1 Pointing to the front. 2 Sweep hand from breast to the right majes- 
tically. 3 No. 4, plate for hands. 4 No. 4, plate for arms. 5 Bring hand 
down in front with vigor on emphatic words. 6 No. 12 in plate for hands. 

7 Elevate hand in front — first finger pointing upward. 8 Same as 6 . 

8 Double gesture as in No. 5 of plate for arms. 10 Throw the hands care- 
lessly and loosely outward. X1 Same as 5 . 



24 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



QUIETLY. 



NATU- 
RALLY. 



7-THE LESSON OF THE MILL. 

1. Listen 1 | to the water-mill j all the live-long 

day, 
How the clicking of the wheel wears the hours 

away; 
Languidly | the autumn 2 wind sheds the 

greenwood leaves; 
From the fields the reapers sing, binding 3 up 

the sheaves; 
And a proverb* haunts my mind | as a spell 

that's cast: 
"The 5 mill | will never grind | with the water 

that is past." 



2. Autumn winds revive no more 6 leaves that 
once are shed, 
And the sickle cannot reap corn once gath- 
ered — 
And the rippling stream 7 flows on, tranquil, 

deep and still, 
Never gliding back again | to that water-mill ; 
8 Truly speaks the proverb old, with a mean- 
ing vast: 
9 "The mill | will never grind | with the water 
that is past." 



DIDACTIC. 



3. Take this 10 lesson to yourselves, loving hearts 
and true, 
Golden years are 11 fleeting by, | youth is pass- 
ing too; 
Learn to walk the road of life, 12 lose no 

happy day- 
Time can never bring thee back | chances 

swept away. 
Leave no tender word unsaid; love 13 while 
love may last; 
14 "The mill | will never grind | with the water 
that is past." 



THE LESSON OP THE MILL. 



25 



4. Work 15 | while yet the daylight shines, men of 

strength and will, 
earnest Never doth the streamlet glide useless | by the 

mill: 
16 Wait not till to-morrow's sun beams upon 
thy way — 
All that thou canst call thine own | lies in the 
to-day ; 
17 Power, intellect, and health cannot always 
last ; 
"The mill | will never grind | with the water 
that is past." 

5. 18 | the wasted hours of life that have drifted 

by, 

solemn. And the 9°°d we might have done | lost with- 

out a sigh; 

Loss | that we might once have saved by a 
single word — 

Thoughts 19 conceived but never penned, 
perishing unheard ; 

Take this motto to thine heart 20 — take and 
hold it fast; 

"The mill will never grind with water that 
is past." 



1 Right hand extended in front. 2 Bring hand downward toward 
ground. 3 Action with both hands one over the other — circular move- 
ment. * Place finger on forehead. 5 Point to right. 6 Point to ground. 

7 Sweeping downward gesture of the hand from center to the right. 

8 No. 7 hand plate. 9 Repeat 5 10 Right hand out — palm up. 
11 Gracefully turn hand to the right. 12 Hand in front — admonishing. 
13 Open hand on breast. 14 Repeat 5 . 15 No. 2 hand plate. 1G Wave hand 
slight to right — wrist movement — palm down. 17 Move hand in front, 
having palm upward — bring it slightly down on the emphatic words. 
18 Tips of both hands touching in front of breast. 19 Indicate forehead 
with finger. 20 Arms and hands in front. Position of earnestness — hold 
it till finish. 



26 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



DESCRIP- 
TIVE. 



8-CURFEW MUST NOT RING TO-NIGHT. 

Rose Hartwich Thorpe. 

1. England's 1 sun was slowly setting o'er the 
hill so far away, 
2 Filling all the land with beauty, at the close 

of one sad day. 
And his last rays kissed the forehead of a 
man, and maiden fair, 
3 He | with step so slow and weary, 4 she | with 

sunny floating hair; 
5 He | with bowed head, sad and thoughtful, she 
with lips so cold and white, 
Struggling 6 to keep back the murmur, "CUE- 
FEW must not ring to-night/ J 



LOW. 



STAGE 

WHISPER. 



"Sexton," Bessie's white lips faltered, point- 
ing 7 to the prison old, 

With its walls so dark and gloomy, walls so 
dark, and damp, and cold, — 

"I've a lover in that prison, doomed this very 
night to die 

At the ringing of the curfew, and no earthly 
help is nigh — 

Cromwell will not come till sunset," | and her 
face grew strangely white, 

As she spoke in husky whispers, "CURFEW 
must 8 not ring to-night/' 



SLOW AND 
FIRM. 



INCREASED 
TONE. 



3. "Bessie," calmly spoke the sexton, 

9 "Long, long years I've rung the curfew from 
that gloomy shadowed tower; 
Every evening, just at sunset, it has told the 

twilight hour. 
I have done my duty ever, | tried to do it just 

and right, 
Now I'm old — I will not miss it; girl! the 
curfew 10 rings to-night." 



CURFEW MUST NOT RING TO-NIGHT. 



27 



INTENSE. 



HURRIED 



OROTUND. 



LOUD. 



4. Wild her eyes, 11 and pale her features, stern 

and white her thoughtful brow, 
And | within her heart's deep centre Bessie 

made a solemn vow; 
12 And her breath came fast and faster, and her 

eyes grew large and bright, 
One low murmur, scarcely spoken, "Curfew 

must not ring to-night." 

5. She | with light steps 13 bounded forward, 

sprang within the old church door, 
14 Left the old man, coming slowly, paths he'd 

trod so oft before. 
Not one moment paused the maiden ; but with 

cheek and brow aglow, 
Staggered up the gloomy tower, where the 

bell 15 swung to and fro; 
16 Then she climbed the slimy ladder, dark — 

without one ray of light, 
Upward still, her pale lips saying, "Curfew 

shall not ring to-night." 

6. She has reached 17 the topmost ladder; o'er 

her hangs the great, dark bell, 

And the 18 awful gloom beneath her — like the 
pathway down to hell — 
19 See! the ponderous tongue is swinging, 'tis 
the hoar of curfew — Now! 

And the sight has chilled her bosom, stopped 
her breath, and paled her brow ; 

Shall she let it ring? 20 No, never! her eyes 
flash with sudden light, 

As she springs, 21 and grasps it firmly, "Cur- 
few shall not ring to-night." 

7. 22 Out she swung — far out — the city seemed a 

tiny speck below, 
There, | 'twixt heaven and earth suspended, 

as the bell swung to and fro; 
And the 23 half-deaf sexton, ringing — years he 

had not heard the bell — 



28 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



NARRA- 
TIVE 
STYLE. 



Thought the twilight curfew | rang young 
Basil's funeral knell. 



8, O'er the 24 distant hills came Cromwell ; Bessie 
saw him, and her brow 
Lately white with sickening horror, glows 
with sudden beauty now: 
25 At his feet she told her story; he saw her 
hands 26 all bruised and torn, 
And her sweet young face so haggard, with 

a look so sad and worn, 
Touched his heart with sudden pity, lit his 
eyes with misty light — 
27 "Go — your lover lives/' said Cromwell; "cur- 
few shall not ring to-night." 



FULL SUS- 
TAINED 
VOICE. 



9. 28 Wide | they flung the massive portal, led the 

prisoner forth to die, 
All his bright young life before him — 'neath 

the dark'ning English sky. 
Bessie comes with flying footsteps 29 — eyes 

aglow with love-light sweet — 
30 Kneeling on the turf beside him, lays his 

pardon at his feet. 

10. In his strong, brave arms he 31 clasped her, | 

kissed the face upturned and white; 
Whispered, "Darling, you have saved me, 
curfew did NOT ring to-night/' 



1 Point left — gradually drop the arm. 2 Double gesture No. 5 arm 
plate. 3 Point to right. * Point to left. 6 Incline the head. 6 Hand 
quietly laid on lower part of neck. 7 Gesture to the right and retain it 
for four lines. 8 Hands clasped nervously. 9 Fingers directed up to the 
right. 10 Close the hand and bring it down with energy. ll Show great 
excitement in look and manner. 12 Both hands pressed tightly over heart 
— body bent slightly forward. 13 Advance quickly — point to right. 
14 Pointing left. 15 Sway the arm and hand gently from right to left 
and back again. 16 Imitate the action of climbing. 17 Arm and hand 
perpendicular. 18 Look downward horrified — hands extended — fingers sepa- 
rated. 19 Point to bell, great excitement. 20 Bring hand down emphati- 
cally. 21 Reach forward — advance, bring both hands together, as if 
clutching bell. 22 Swing the arm widely. 23 Touch the ear. 24 Point to 
left. 25 Both hands extended toward ground, palms out — breast out — 
head back — right foot advanced. 26 Break the picture — show hands and 
turn them. 2T No. 8, plate for arms. 2S Open widely both arms. 29 Point 
toward face. 30 Points down. 31 Fold arms across breast — hold till the 
end. 



THE SONG OF THE SWORD. 



29 



SLOW. 



QUIET. 



9-THE SONG OF THE SWORD. 

1. Weary, 1 and wounded and worn, 
Wounded, and ready to die, 
A soldier they left, all alone and forlorn, 
On the field of the battle | to lie. 
2 The dead and the dying | alone 

Could their presence and pity afford; 
Whilst, 3 with a sad and terrible tone, 
He sang the song of the sword. 



LOW. 

SLIGHT 
MONOTONE. 



2. ^Fight— fight— fight ! 

Though a thousand fathers die ; 

Fight— fight— fight! 
Though thousands of children cry; 

Fig h t — fig h t — figh t ! 
Whilst mothers and wives lament; 5 

And fight— fight— fight ! 
Whilst millions of money are spent. 



3. ^Fight— fight— fight ! 

Should the cause be foul or fair; 
7 Though all that's gained is an empty name 
And a tax too great to bear : 
An empty name and a paltry fame, 

8 And thousands lying dead; 
Whilst every glorious victory 
Must raise the price of bread. 



INCREASED 
TONE. 



PAUSE. 



4. 9 War — war — war ! 

Fire, and famine, and sword; 
10 Desolate fields, and desolate towns, 
And thousands scattered abroad, 
With never a home and never a shed; 
Whilst kingdoms | perish and fall, 
n And hundreds of thousands are lying dead, 
And all for 12 nothing at all. 



30 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



INTERROG- 
ATIVE. 



REGRET- 
FUL. 



5. ls War — war — war! 

Musket, and powder, and ball : 
14 Ah ! ) what do we fight so for ? 
Ah! why have we battles at all? 
? Tis justice must be done, they say, 
The nation's honor to keep; 
15 Alas ! | that justice is so dear, 
And human life so cheap. 



6 . 16 War — war — war ! 

Misery, murder and crime, 
low tone. Are all the blessings | Fve seen in thee 

From my youth | to the present time; 
17 Misery, murder and crime — 

Crime, misery, murder, and woe: 
18 Ah ! | would I had known in my younger days 
A tenth of what now I know ! 



INFLEC- 
TION 



7. 19 Ah ! had I but known in my happier days, 
In my hours of boyish glee, 
A tenth of the horrors and crime of war — 
A tithe of its misery ! 
20 I now | had been joining a happy band 
Of wife and children dear, 
And I had lived | in my native land, 
Instead of dying here. 



SLOW. 



SORROW- 
FUL. 



And many a long, 21 long day of woe, 

And sleepless nights untold, 
And drenching rain, and drifting snow, 

And weariness, famine and cold; 
And 22 worn-out limbs, and aching heart, 

And grief too great to tell, 
23 And bleeding wound, and piercing smart, 

Had I escaped full well. 



Weary, 24 wounded, and worn, 

Wounded, and ready to die, 
A soldier they left 25 all alone and forlorn, 

On the field of the battle to lie. 





THE SPANISH MOTHER. 
(See page 31.) 



THE SPANISH MOTHER. 31 

M feeling ^e ^ ea ^ an( ^ ^ e dy^-g alone 

Could their presence and pity afford ; 
Whilst thus, with a sad and a terrible tone, 
(0, would that these truths were more per- 
fectly 2 ** known!) 
He sang | the song | of the sword. 27 



SLOW. 



1 No. 1, hand plate — hold gesture for four lines. 2 Indicate several 
places. 3 No. 1, hand plate — with emphasis. 4 Left hand pressed against 
side, right hand on forehead. 5 Drop right hand. 6 Same as 4 . 7 Hands 
interlaced as in No. 11, hand plate. 8 No. 2, arm plate. 9 Both hands 
clasping each side of head- — look upward. 10 Both arms as in No. 1, 
plate for arms — then extend arms to either side fully. u Use open ges- 
ture both arms. 12 Drop them. 13 Same as 9 . 14 Shake the head gravely. 
15 Clasp hands fervently. 16 Same as 9 . 1T No. 12 hand plate. 18 Nod 
the head slowly and repeatedly till end of sentence. 19 Arms folded on 
breast — head down — eyes toward audience. 20 Raise the head — extend 
right hand — left palm pressed to side. 21 No. 9, hand plate. 22 Touch 
legs — breast. 23 Left hand pressed to side. 24 General exhaustion. 
25 Bring hands together as in prayer. 26 Slowly shake the head. 28 Hands 
toward audience. 



10-THE SPANISH MOTHER. 

SUPPOSED TO BE RELATED BY A VETERAN FRENCH OFFICER. 

Sir Francis Hastings Doyle. 

tone EATE The German and the Englishman | were each | 

an open foe. 
And open hatred hurled 1 us back from Kussia's 

blinding snow; 
Intenser far, in blood-red light, like fires un- 

quenched, remain 
The dreadful deeds | wrung forth by war | from 

the brooding soul of Spain. 

I saw a village 2 in the hills, as silent as a dream, 
s Nought stirring | but the summer sound of a 
merry mountain stream; 



32 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

4 The evening star just smiled from heaven, with 

its quiet silver eye, 
And the chestnut woods | were still and calm, be- 
neath the deepening sky. 



SLIGHTLY 

INCREASED 

FORCE. 



But | in that place, self-sacrificed, 5 nor man nor 

beast we found, 
6 jNTor fig-tree on the sun-touched slope, nor corn 

upon the ground; 
Each roofless hut was black with smoke, 

wrenched 7 up each trailing vine, 
8 Each path was foul with mangled meat, and 

floods of wasted wine. 



STRONG. 



We had been marching, travel-worn, a long and 
burning way, 

And when such welcoming we met after that toil- 
some day, 

The pulses in our maddened breasts | were hu- 
man hearts no more, 

But, like the spirit of a wolf, 10 hot on the scent 
of gore. 



LOUD. 



n We lighted on one dying man, | they slew him 
where he lay, 
His wife, 12 close clinging, from the corpse they 13 

tore and wrenched away ; 
They thundered in her widowed ears, with 
frowns and cursings grim, 
^"Food, woman, food and wine, or else we tear 
thee limb from limb." 



IMPRESS- 
IVE. 



The woman, shaking off his blood, rose raven- 
haired and tall, 15 

And our stern glances | quailed before one 
sterner far than all; 

"Both food and wine," she said, "I have; I 
meant them for the dead, 16 

But ye 17 are living still, and so — let them be 
yours instead." 



THE SPANISH MOTHER. 



33 



SURPRISE. 



The food was brought, the wine was brought, 

out of a secret place, 
But | each 18 one paused aghast, and looked into 

his neighbor's face; 
Her haughty step and settled brow, 19 and chill 

indifferent mien, 
Suited so strangely with the gloom and grim- 

ness of the scene : 



HORROR. 



20 She glided here, she glided there, before our 
wondering eyes, 

Nor anger showed, nor shame, nor fear, nor sor- 
row, nor surprise; 

At every, step from 21 soul to soul a nameless 
horror ran, 

And made us pale and silent as that 22 silent 
murdered man. 

23 She sate, and calmly soothed her child into a 

slumber sweet; 
Calmly the bright blood on the floor | crawled 

red around our feet; 
On placid fruits and bread | lay soft the shadows 

of the wine, 
And we like marble statues glared — a chill un- 

moving line, 

All white, all cold; and moments thus flew by 
without a breath, 
24 A company of living things | where all was 

still— but death— 25 
26 My hair rose up from roots of ice, as there i 
unnerved | I stood 
And watched the only thing that stirred — the 
rippling of the blood. 



LOUD. 



That woman's voice was heard at length, it 

broke the solemn spell, 
And human fear displacing awe | upon our 

spirits fell — 



34 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

"Ho! slayers of the sinewless, ho! tramplers of 

the weak! 
27 What ! shrink ye from the ghastly meats | and 
life-bought wine ye seek? — 

"Feed and 28 begone, I wish to weep — I bring 

you out my store, 
Devour it — waste it all — and then, pass, and be 

seen no more. 
29 Poison ? is that your craven fear ?" she 30 snatched 

a goblet up, 
And raised it to her queen-like head, as if to 

drain the cup — 

sarcasm. But our fierce leader 31 grasped her wrist, "No ! 

woman, no !" he said, 
"A mother's heart of love is deep. — Give it 

your child instead/' 32 
She only smiled a bitter smile, — "Frenchman, 

I do not shrink, 
As pledge of my fidelity — behold the infant 

drink" 33 

34 He fixed on hers his broad black eye, scanning 
the inmost soul, 

But her chill fingers trembled not | as she re- 
turned the bowl. 

And we, 35 with lightsome hardihood dismissing 
idle care, 

Sat down to eat and drink and laugh, over our 
dainty fare. 

36 The laugh was loud around the board, the jesting 
wild and light — 

But I was fevered with the march, and drank 
no wine that night; 

I just had filled a single cup, when through my 
very brain 37 

Stung, sharper than a serpent's tooth, an in- 
fant's cry of pain — 



THE SPANISH MOTHER 35 

^Through all that heat of revelry, through all 
that boisterous cheer, 
To every heart its feeble moan pierced, like a 
frozen spear: 
vert loud. "Ay," shrieked the woman, darting up, "I pray 
you trust again 
A widow's hospitality, in our unyielding Spain. 

"Helpless and hopeless, by the light of God 

Himself I swore 
To treat you I as you treated 39 him — that body 

CONTINUED 4-l.„ fl™ 

force. on the floor. 

41 Yon secret place I filled, to feel, that if ye did 
not spare, 
The treasure of a dread revenge was ready 
hidden there. 

"A mother's love is deep, no doubt, ye did not 

phrase it ill, 
42 But in your hunger, ye forgot that hate 43 is 

deeper still. 
The Spanish woman speaks for Spain^ for her 

butchered love | the wife — 
To tell you, that an hour 44 is all my vintage 

leaves of life." 

I cannot paint the many forms by wild despair 
put on, 

Nor count the crowded brave | who sleep under a 
single stone; 

I can but tell you, how before that horrid hour 

went by, 
45 I saw the murderess | beneath the self- 
avengers die; — 

But | though | upon her wrenched limbs they 
leapt 46 like beasts of prey, 

And with fierce hands | as madmen | tore the 
quivering life away, 



36 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

^Triumphant hate, and joyous scorn, without a 
trace of pain, 
Burned to the last, like sullen stars, in that 
haughty eye of Spain. 



1 Inward movement of arms. No. 7 arm plate. 9 Indicate with right 
hand. 3 Two hands extended — palms down. 4 Point upward. 5 Wave 
right hand from breast palm down. ° Gesture upward to right. 7 Action 
of pulling from ground. 8 Double gesture No. 2, arm plate. 9 Open hand 
on breast. 10 Bring hand forward. No. 6 hand plate. u Point down- 
ward. 12 Arms well out and down — bend forward. 13 Close extended hand, 
draw back quickly. 14 Shake clinched hand threatingly. 15 Stand erect. 
16 Points downward. 17 Place hand in front. 18 No. 6 hand plate — turn 
head from side to side. 19 Show by bearing her majestic mien. 20 Point 
to several places. - 1 Open hand on breast. 22 Point downward. 23 Stand 
perfectly still — hands crossed in front, down — amazement. 24 Both hands 
in front. 23 Slowly point downward. 26 Both hands on head. 27 Right 
hand well out. 28 Turn palm down — sweep hand to right. 29 No. 6 
hand plate, both hands. 30 Action of lifting cup. 31 Action of grasping 
wrist. 32 Loosen grasp. 33 Bend forward — pretend to hold cup to in- 
fant's lips. 34 Arms folded — look attentively to the side. 35 Double ges- 
ture to the front, careless in manner and expression. 3 Swing arms care- 
lessly about. 37 Touch right side of forehead. 38 Touch breast. 39 Shake 
index finger violently. 40 Point to the dead. 41 Point to the right. 
42 Hand on breast. 43 Shake closed hand. 44 Bring hand down quickly. 
45 No. 2 arm plate — one hand. 46 Send both hands from forehead out- 
ward. 47 No. 6 hand plate — keep this till the end. 



DESCRIP- 
TIVE. 



11-THE SINGING OF THE MAGNIFICAT. 

E. Nesbitt. 
J In midst of wide green pasture lands, cut 
through 
By lines of alders | bordering deep-banked 
streams, 
Where bulrushes and yellow iris grew, 

And rest, and peace, and all the flower of 
dreams, 
The abbey stood : — so still, it seemed a part 2 
Of the marsh country's almost pulseless heart 

And all the villages and hamlets near 

Knew the monk's wealth, and how 3 that 
wealth was spent. 
4 In tribulation, sickness, want, or fear, 
First to the abbey all the peasants went, 
Certain to find a welcome, and to be 
Helped in the hour of their extremity. 



THE SINGING OF THE MAGNIFICAT. 37 

The monks | in such good works were always 



Yet | all men must have sorrows of their own, 
And so a 5 bitter grief the good monks had, 

And mourned for others' heaviness alone. 
e This was the secret of their sorrowing, 
7 That not a monk in the house could sing. 



INTERROG- 
ATIVE 
TONE. 



8 Was it the damp air from the lovely marsh, 
Or strain of scarcely intermitted prayer, 
That made their 9 voices, when they sang, as 
harsh 10 
As any frog's that croaks in evening air ; 
That marred the chapel's peace, and seemed to 
scare 
11 The rapt devotion lingering in the air? 



SLOW, 



REVERENT 
TONE. 



And all their prayers and fasts availing not 
To give them voices sweet (their soul's de- 
sire), 12 

The abbot said, "Gifts He 13 did not allot— 
God at our hands will not again require. 

The love He gives us He will ask again 

In love to Him and to our fellow-men. 



f ^"Praise Him we must, \ and since we cannot 
praise 
As we would choose, we praise Him as we can. 
15 In heav'n | we shall be taught the angels' ways 
Of singing — we afford to wait a span. 
In singing and in toil do ye your best 16 
God will adjust the balance — do the rest." 



But | 17 one good brother, anxious to remove 
This, the reproach now laid on them so long, 
brisk. ^Rejected counsel and for very love 

Besought a monk skilled in the art of song 
To come to them — his cloister far to leave, 
^ 9 And sing Magnificat on Christmas Eve. 



38 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

So when each brown monk duly sought his place, 
bright. 20 By two and two slow pacing to the choir, 

Shrined in his dark oak stall | the strange 
monk's face, 21 
Shone with a light as of devotion's fire. 
Good, young, and fair, his seemed a form 

wherein 
Pure beauty left no room at all for sin. 



LIGHT AND 
FLOWING. 



And when the time for singing it had come, 
Magnificat ! 22 — face raised and voice he sang : 

Each in his stall the monks stood glad and 
dumb, 
As through the chancel's dusk his voice out- 



23 



rang 

Pure, clear, and perfect — as the thrushes sing 
Their first impulsive welcome of the spring. 



And as the voice rose higher and more sweet, 
The abbot said, 24 "Lord, hast Thou heard us 
grieve, 

And sent an angel from beside Thy feet 
To sing Magnificat on Christmas Eve; 

To ease our ache of soul and let us see 

How we some day shall sing in heav'n to Thee ?" 



AMAZE- 
MENT. 



That night the abbot, lying on his bed, 
25 A sudden flood of radiance on him fell, 
Poured from the crucifix above his head, 

And cast a stream of light across his cell, 
Where, in the fullest fervor of the light 
26 An angel stood, glittering and great and white. 



LOW. 



The angel spoke ; his voice was low and sweet 
As the sea's murmur on the low-lying shore, 
27 0r whisper of the wind in ripened wheat : 

"Brother," he said, "the God we both adore 

Has sent me down to ask — Is all not right ? 

Why was Magnificat not sung to-night?" 



THE SINGING OF THE MAGNIFICAT. 



39 



CHANGE 
OF TONE. 



28 Tranced in the joy the angel's presence brought 
The abbot answered, "All these weary years 
We have sung our best, but always have we 
thought, 
Our voices were unworthy heav'nly ears. 
And so, to-night, we found a clearer tongue, 
And by it the Magnificat was sung." 



The angel answered, "All these happy years 
29 In heav'n | has your Magnificat been heard ; 
This night alone the angels listening ears 

Of all its music | caught no 30 single word. 
Say, who is he whose goodness is not strong 
Enough | to bear the burden of this song?" 



The abbot named his name; "Ah! why," he 
cried, 
"Have angels heard not what we found so 
dear?" 
31 "Only pure hearts," the angel's voice replied, 
"Can carry human songs up to His ear; 32 
To-night | in heav'n | was missed the sweetest 

praise 
That ever rises from earth's mud-stained maze. 



33 "The monk who sang Magnificat | is filled 

With lust of praise and with hypocrisy ; 
3 *He sings for earth | in 35 heav'n | his notes are 
stilled 
By muffling weight of dead'ning vanity ; 
36 His heart is chained to earth, and cannot bear 
His singing higher than the listening air. 



moral. "From 37 purest hearts most perfect music 

springs, 
And while you mourned your voices were not 
sweet, — 
Marred by the accident of earthly things, — 



40 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



GRAVITY. 



38 In heav'n, | God listening, | judged your song 

complete ; 
The sweetest of earth's music came from you, 
39 The music of a noble life and true/' 



1 No. 8 arm plate. 2 Arms horizontal — palms down. 3 Turn palms 
up. 4 Move hands upward and downward on the four emphatic words. 
5 Both hands No. 3 arm plate. 6 Point first finger toward front. 7 Shake 
finger in each word of the line. 8 Wave open both arms, No. 5 arm plate. 
9 Hand on throat. 10 Bring hand down to front. n Both hands up — 
look around. 12 Touch left breast. 13 No. 4 arm plate. 14 Both hands 
extended and apart. 15 Point upward. 10 No. 12 hand plate. 17 No. 1 
hand plate. 18 Turn hand and wave it to right. 19 No. 1 hand plate. 
20 Indicate by hand a gradual foward movement. 21 Touch face then send 
hand gracefully forward. 22 Throw head backward — eyes up. 23 Two arms 
extended upward. 24 Attitude of devotion, No. 10 hand plate. 25 Fingers 
touching in front of face then slowly separate hands far apart — move and 
look around. 26 Point in front — as. 27 Touch lips. 28 Arms crossed on 
breast. 29 Point upward. 30 No. 1 hand plate. 31 Hand on left breast. 
32 Point upward. 33 No. 2 hand plate. 3 * Turn hand and point finger 
toward earth. 35 No. 4 arm plate. 36 Send hand gently to breast. 3 7 Keep 
hand on breast. 38 Point up. 3S> Clasp hands — eyes up. 



QUICK. 



12-THE PRIDE OF BATTERY B. 

F. H. Gassaway. 
South Mountain 1 towering on our right; 

Far off the river lay; 2 
And over on the wooded height 3 

We held their lines at bay. 



NATURAL. 



At last | the muttering guns were still, 
The day died slow and wan; 
And while the gunners filled 4 their pipes 
The sergeant's yarns began. 



When, | as the wind a moment blew 

Aside the fragrant flood 
Our brierwoods raised, within our view 
5 A little maiden stood. 



THE PRIDE OF BATTERY B. 



41 



6 A tiny tot of six or seven, 

From fireside fresh she seemed. 
(Of such a little one in heaven 
One soldier often dreamed.) 



GRUFF 
TONES. 



And, | as we stared, her little hand 7 

Went to her cnrly head 
In grave salnte. "And who are you?' 

At length the sergeant said. 



CHILD'S 
TONE. 



"And where's your home?" he growled again. 

She lisped ont, "Who is me?" 8 
'Why, don't yon know? Fm little Jane, 

The pride of Battery B. 



UPWARD 
INFLEC- 
TION. 



10 "Hy home ? Why, that was burned away, 
And pa and ma are dead; 
And so I ride the gnns all day 
Along with Sergeant Ned. 



"And I've a drum 11 that's not a toy, 
12 A cap with feathers, too ; 
And I 13 march beside the drummer-boy 
On Sundays at review. 



SORROW- 
FUL. 



14 "But now | our 'bacca's all give out, 
The men can't have their smoke, 
And so they're cross; why, even Ned 
Won't play with me and joke. 



"And the 15 big colonel said to-day- 
I hate to hear him swear — 

He'd give 10 a leg for a good pipe 
Like the Yank had 17 over there. 



18 "And so | I thought, when beat the drums, 

And the big guns were still, 
19 I'd creep beneath the tent, and come 

Out here across the hill, 



42 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



PLEADING. 



"And beg, 20 good Mister Yankee men, 
You'd give me some 'Lone Jack.' 
21 Please do. When we get some again, 
I'll surely bring it back. 



"Indeed I will ; for Ned, says he — 

'If I do what I say, 
I'll be a general yet, maybe, 
22 And ride a prancing bay.' " 



LIGHT. 



We brimmed 23 her tiny apron o'er. 

You should have heard her laugh, 
As each man from his scanty store 

Shook out a generous half. 



CHANGE 
VOICE. 



To kiss the little mouth | stooped down 24 

A score of grimy men, 
Until the sergeant's husky voice 

squad!" and then 



Said, 25 "'Tention, 



We gave her escort, till good-night 

The pretty waif we bid, 
And watched her | toddle out of sight — 26 

Or else | 'twas tears that hid 

The tiny form ; nor turned about 

A man, nor spoke a word, 
Till, after a while, a far hoarse shout 

Upon the wind we heard. 



SYMPATHY. 



27 We sent it back, then cast sad eyes 
28 Upon the scene around. 
A baby's hand had touched the ties 
That brothers once had bound. 



29 That's all — save | when the dawn awoke 
Again the work of hell, 
And through the sullen clouds of smoke 
^The screaming missiles fell, 



THE MELANCHOLY HEN. 



43 



PRO- 
NOUNCED. 



Our general | often rubbed his glass, 
And marvelled much to see 
31 Not a single shell that whole day | fell 
In the camp of Battery B. 



1 Point right. 2 Point left. 3 Point center. 4 Show action of filling 
pipe. 5 Point in front. 6 Hand out showing her size. 7 Military salute. 
8 Fingers of both hands touching breast. 8 General surprise. 10 Pulling 
apron or dress. ai Bring both hands to side show action of drumming. 
12 Touch side of head. 13 Mark time till end of following line. 14 Clasp 
hands — sorrowfully — head on side. 15 Fingers open in front of face and 
waving. 16 Strike leg. 17 Point center. 18 Right hand under jaw — left 
hand supporting elbow of right arm — nodding head. 19 Make snake-like 
movement with right hand. 20 Clasp hands. 21 Same gesture — advance — 
pleading. 22 As if holding bridle of horse — toss the head. 23 As if shak- 
ing out tobacco from bag. 24 Bend forward — arms out. 25 Stand erect — 
arms by the side. 26 Point to front. 27 Wave the hand from the mouth 
outward. 28 Look from side to side. 29 Carelessly throw hands forward 
and drop them. 30 Point upward — drop hands. 81 Two hands, No. 1 
hand plate. 



RATHER 
QUICK. 



13-THE MELANCHOLY HEN, 



w. a. wuis. 



Some talk of 1 melancholy men — | 
I'm sure you'll think them cheerful | when 
I tell you 2 of a lonely hen, 
Who led a life secluded; 
3 With other fowls she mingled not; 
Her feathered relatives forgot; 
She stood whole hours upon one 4 spot, 
5 And I o'er her sorrows brooded. 



MOCK 
SOLEM- 
NITY. 



Her face it was depressed and meek, 
Pallid were her gill and beak, 6 

Unwholesome white her plumage ; 
Her voice was weak, peevish, and low, 
The phantom of a broken crow, — . 
As if the weight of bitter woe 

She would express | were 7 too much. 



EMPHATIC. 



'Twas said | an egg she never laid 
8 (And truly said I am afraid), 
9 In fact she was a sad old maid, 
Who lived in destitution. 



44 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

The cocks were slighting, proud, and rough, 
And often called her thin and tough, 
10 As if she weren't sad enough 
Without such persecution. 

11 The wondering fowls conversed apart, 
A-roosting on an empty cart — 
rapid. Some said it was a broken heart 

That drove the creature crazy; 
Love unrequited was her luck, 
Some hinted with a pitying chuck ; 
While some, with a malicious cluck, 
Pronounced her only | lazy. 12 



LIVELY. 



Some gallant roving cock, we're told, 
13 With arching tail of green and gold, 
And swaggering steps so brave and bold- 

A dainty fowl, and pampered, 
Was once, alas! adored by her 
For his tall crest and dauntless spur, 
And shamefully, the fowls aver, 
14 With her affections tampered. 



15 If this be true | 'twere hard to prove, 
At least, she never told her love — 

A blank is in her history. 
She loved one spot, we only know — 
16 The dunghill where he used to crow, 
17 And there she clucked and cackled so ; 
She was involved in mystery. 



The fowls would beg of her to feed, 

And, as she was an invalid, 

Would treat her to some nice rape-seed, 

To make a small variety. 
But 'mid that little friendly pick, 
18 A grain within her throat would stick, 
And she would leave them, deadly sick 
Of rape-seed and — society. 



SLOW. 



THE LAST SHOT. 45 

19 Alas ! | alas ! | this mournful hen 
rather Shall never more lament again; 

One morning she by cruel men, 
To make hen-broth was taken. 
She bowed her head to their decree, 
It was a tearful sight to see 
Such high resolve and constancy, 
In one so all-forsaken. 

And then | each melancholy bone 
20 Into a seething pot was thrown, 

All but the merry-thought alone, 
For she had no such folly; 
21 And a poetic cock averred — 
22 (But, mind, you don't believe his word) 

That meath the 23 dunghill lie interred 

24 Her bones so melancholy. 



1 No. 1 hand plate. 2 Cross the hands and shake head. 3 Both hands 
extended. 4 Point downward. 5 Same as " 2 ." 6 Point to neck. 7 Throw 
both hands forward. 8 No. 1 hand plate both hand — look knowingly. 
9 Cross arms in front — head sideways. 10 Facial expression of sadness. 
11 Hand out — move quickly from side to side. 12 Hands forward. 13 March 
from side to side tossing head proudly. 14 Hands on breast — bend for- 
ward. 15 Both hands — No. 5 arm plate. 16 Point to right. 17 At end 
of line imitate a hen cackling. 1S Hand on throat. 19 Wave hands in 
front up and down. 2° Extend arm — bend down. 21 No. 12 hand plate. 
2 - Change tone for parenthesis. 23 Point downward. 2i Cross arms — shake 
head. 



14-THE LAST SHOT. 

A TALE OF THE INDIAN MUTINY. 

John D. Reid. 

Three 1 to ride and to save, one 2 to ride and be 
saved — 
slow. That's the key of my tale, boys, deep on my 

heart 3 engraved. 
With death before and behind, through dangers 
firm. many and nigh, 

4 Four to ride together, and three of the four to 
die. 



46 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

There was the Captain's daughter, a young and 

delicate girl, 
With her childlike face and shining eyes, and 5 

hair of sunniest curl; 
She looked like a beautiful flower, too slight to 

be even caressed, 
Yet never was 6 braver heart than beat in that 

girlish breast. 

And then there was 7 Sergeant Gray, a martinet 

old and grim; 
The biggest tyrant alive was a lamb compared 

to him; 
8 Ne'er-dae-weel Douglas was next, a Borderer 

born and bred, 
With a sin on his 9 soul | for each hair that grew 

on his handsome head. 



MEDIUM 
TONE. 



And then | 10 there was Fighting Denis — Denis, 

the stout of heart, 
Foremost in every row, and skilled in the 

"manly 11 art." 
Take the three together, the truth is, old and 

young, 
They were three o' the 12 greatest scamps, boys, 

that ever deserved to be hung. 



What was 13 she doing, you ask, alone with fel- 
lows like these, 
14 Down by the Ganges 7 bank, hid 'mong the 
mango trees? 

Well, J she couldn't help herself, she could only 
wait and pray, 

And they — they were doing their duty as well 
as they knew the way. 



COMMAND- 
ING. 



15 Slowly the red moon rose, and then the ser- 
geant spoke — | 

16 "Pat, look to the horses' girths; Graham, give 
the lady 17 this cloak. 



THE LAST SHOT. 



47 



DELIB- 
ERATE. 



QUICK. 



Now, miss, 18 be your father's daughter, our lads 

are close below, 
The horses are fresh, the road is clear, and 

we've only five miles to go." 

Then spoke the Captain's daughter, and her 

voice was weak, but 19 clear — 
"I want you to promise, brave friends, | while 

we're together here, 
That you'll keep 20 the last shot for me — when 

each heart of hope despairs; 
Better die by hands like 21 yours | 22 than be left 

alive in 23 theirs." 

24 "I promise." "And I." "And I." The voices 

were hoarse and low, 
And each man prayed, I ween, that the task he 
might not know, 
25 As out on the plain they rode swiftly and 
silently — 
Four to ride together, and three of the four to 
die. 

2<J Fire to the right and left, fire in front and rear, 
As the dusky demons broke from their lurking 

ambush near. 
"Noo, Denis, boot tae boot — keep close between, 

ye twa — 
We've cut her a way through waur than this, 

an'— 27 "Charge r 28« HuRRAH |« 

As the lightning cleaves the cloud, as the tem- 
pest 29 rends the oak, 
The comrades' | headlong rush, the gathering 

miscreants broke; 
Unharmed | through the yelling horde the Cap- 
tain's daughter fled, 
30 While thick and fast in pursuit the Sirdar's 
y horsemen sped. 

31 Up on the crest o' the rise | where Cawnpore's 
curse of blood 



48 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



GASPING. 



Bushes with horror yet the wide and rolling 

flood, 
Douglas reeled in his saddle, and whispered 

brokenly — 
"Gray, 32 dinna let her ken, | but it's near a' ower 

wi' me." 



"Hit?" "Ay, here in the side." 33 "Badf 

"Ay, bad, but a-h! 
I'll face yon hounds on the brae, it may gain ye 

a minute or twa — | 
Tak' my horse 34 | ye may need it for her. 

Steady, there ! — woa there, Gem ! 
Dinna forget your promise — yon lassie's no for 

them."™ 



RAPID. 



An iron grip o' the hands — a mist o'er the ser- 
geant's sight, 
36 As he swiftly wheeled the horses, and vanished 
in the night; 
Then round to the nearing foe, under the starry 
sky, 
37 Alone with his God, and his own brave heart, 
Douglas turned to die. 



LOUD. 



Then | fighting it, 38 thrust for thrust, and fight- 
ing it, blow for blow, 

Till at last, where the bank fell sheer to the 
dusky stream below, 
39 He fell — a groan — a plunge — wave circles eddy- 
ing wide — 

And the ne'er-dae-weel was at rest 'neath the 
river's turbid tide. 



QUICK. 



40 On and over all — over nullah and stream; 
On where the serpents hiss, where the leopard's 

eyeballs gleam; 
On and on like the wind, faster and faster yet, 
While the fingers 41 clutch the hilt, and the 

grinding teeth are set. 



THE LAST SHOT. 



49 



42 A splutter of fire on the right, | a flame of fire 
in the rear, 
And Gem leaped up and fell — another, and all 

too near 
The hissing bullets came, and then the sergeant 
knew 
43 His life was ebbing away | with every breath he 
drew. 

Sore and deep the wound, but never a moan he 

made, 
And rising up in his saddle, erect as when on 

parade — 
slo?t±,y. "Pat, | if you get in, | report that Douglas | and 

I | are dead; 
Tell them we did our duty, and mind — your** 

promise/' he said. 

The maiden checked her horse with a quick, 
3iGH tone. W M scream of pain — 

45 Heavea, have pity!" she sobbed, as Denis 
seized her rein. 
Then giving iis last command — "Ride onl"^ 

with impatient frown, 
True British soldier to the last, the brave old 
man went d^wn. 



PLEADING. 



VERY LOUD. 



47 Then Denis aimed *nd fired — every shot was 

sure, 
And fierce the yells that hailed the fall of each 

blackamoor. 
Till sudden | the maiden's woice came shrill in 

agony — 
"Oh, Denis, brave Denis, 48 you promised you 

would keep the last shot fur me I" 

Was that the glint of steel that flashed from 

yonder 49 wood? 
Eose there hoarse commands in voices stern and 

rude ? 
50 "On, on — God ! so near, and to fail at last ! 



50 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



FORCIBLE. 



On, on — in vain — our brave brutes fail us — 
hope is past!" 

Oh, pale was the maiden's face, and her white 

lips mo-vert in prayer; 
Then with never a sign of fear, for the hero 

soul was there; 
With the Virgin martyr's glory lighting her 

bonny brow, 
51 She laid her hand on Denis' arm, and gently 

whispered, "Now !" 

52 The strong man | shook 'neath the touch of those 

tiny finger-tips, 
And | "Say you forgive me, Miss," broke hoarse 

from his ashen lips. 
53 Forgive you! Again and again! You see 

I do not fear ! 
54 "God bless you, gallant soldier ! Now, straight 

and sure — aim here!" 55 



SLOW. 



QUICK. 



She laid her hands on her heart, then clasped 

them o'er her head, 
And into the darkened sky her latest look she 
sped; 
56 And Denis | raised his arm | with slow and 

deadly aim — 
57 When all HELL seemed leaping to meet them 
in thunder and cloud and flame. 



QUICK. 



58 'Mid the smoke — 'mid splintering shells that 

glare and shriek and grate — 
'Mid the battery's bursting blaze — 'mid the 

rifle's flashing hate — 
'Mid the pibroch's savage swell — 'mid the 

trumpet's madd'ning alarms — 
The Captain's daughter fainted, safe in her 

father s arms. 

59 While with hurricane-roar, and rush, with clang 
of hoof and steel, 



SLOW. 



THE LAST SHOT. 51 

With flame in each rider's eyes, and fire at each 
charger's heel, 

With shonts that rose to the sky on vengeance- 
laden breath, 

The British squadrons thundered by to the car- 
nival of death. 

Prone on his back lay Denis — Denis, the stout 
of heart, 
60 Still | as she | for whom he had played a hero's 
part. 
Dying alone! Unheeded! What matter? 61 
The fight was won. 
62 He was only a common soldier — besides, his 
work was done. 

Only three common soldiers, only three common 

men, 
63 Giving their lives for a woman, as men have 

again and again; 
Only doing their duty, teaching this lesson 

anew — 
Where'er true woman points the way, true man 

will dare and do. 



1 Right hand extended. 2 Raise index finger. 3 Touch left side of 
breast. *No. 1 hand plate. 5 Hand to the hair. * Touch breast. 7 Point 
right. s Point center. 9 Hands on breast. 10 Point left. 11 Take pugi- 
listic position. 12 Bring hand down — argumentative gesture. 15 Inquiring 
look — hands forward. 14 Point in front. 15 Raise left arm up slowly — 

f joint left. 16 Natural off-hand gesture. 17 Indicating lady. 1S As if 
ifting hat. 19 Right out — pleading. 20 Touch breast with fingers. 21 Indi- 
cating them. 22 Pause. 23 Pointing in the distance. 24 Slowly bowing heads. 
25 Clasp hands. 26 Point in several directions. -' Step forward. 28 Waving 
hand. 29 Bring hand quickly from left to right, upward. 30 Swing right hand 
to right. 31 Point and step to right. 32 Drooping. 33 Hand on side. 
34 Quick movement of the hand. 35 Point languidly in front. 30 Quick 
action. 3T Drooping. 3S Thrusting and down blow of broad sword com- 
bat. 39 Point downward. 40 Advance — pointing. 41 Grasping sword. 
42 Point to right and behind. 43 Left hand on heart. 44 Speak slowly — ■ 
droop head. 45 Clasp hands. ** Commanding gesture from the left 
shoulder out. 4T Aim as to shoot with gun. 4S Hands extended then 
brought back to breast. 49 Point forward. 50 Step and point to right. 
51 Advance right arm and hand. 52 Both hands clinched. 53 Extend right 
hand — bend forward. 54 Shakes his hand. 55 Points to heart. 56 Imitate 
action in lines. 57 General action — arm out. 58 Point forward — hold pic- 
ture till period. 59 Hands and fingers extended — great amazement in look 
and attitude. 60 Gesture directed downward. 61 Careless, outward ges- 
ture with both hands. 62 Repeat same. 63 Both hands out — apart palms 
up. 



52 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



15-NELLlE'S PRAYER. 



G. R. Sims. 



PATHETIC. 



MODERATE 



PAS- 
SIONATE. 



FERVENT. 



LOUD. 



It's a month to-day | * since they brought me 

The news of my darling's death; 
I knew what it meant | when the neighbors 2 

Whispered under their breath; 
And one good motherly creature, 

Seeing my Nell at play, 
3 Stooped down, with her eyelids streaming, 

And kissed her and turned away. 

It was there | 4 in the evening paper, 

His name was among the dead — 
We had won a glorious battle, 

And the enemy, beaten, fled. 
Then they counted the dead and wounded, 

And found 5 him among the slain; 
G God! | had I known when we parted 

We were never to meet again! 

I couldn't believe the story — 

I could' t believe that he, 1 
My darling — my soldier husband — 

Would never come back to me. 
I had thought of him night and morning; 
8 I had passed long nights on my knees 
Praying | that God would bring him 

Back to me | over the seas. 

9 It all came back like a vision; 

I could hear the band as it played | 
When the regiment marched to the station, 
And the noise that the people made 
10 As they shouted "Good luck" to the soldiers, 
And gave them three ringing cheers, 
While the women with ashen faces, 
Walked by the side in tears. 

We walked by his side that morning, 
And Nellie was quite elate 
n With the band and the crowd and the cheering^* 
My Nellie was only eight. 




NELLIE'S PRAYER. 
(See page 52.) 



NELLIE'S PRAYER. 



53 



She never thought of the danger; 
He had tried to make her gay, 
12 And he told her | to take care of mother — 
He wouldn't be long away. 



QUIETLY. 



He held her 13 up at the station, 

Lifted her up to kiss, 
And then, 14 with her arms flung round him 

Said to her, | softly, | this : 
15 "Nellie, my pet, at bed-time, 

When you kneel at your mother's knee 
To pray to the God who loves us, 

Say a wee prayer for me. 



with 

FEELING. 



"I shall think of you in the twilight, 
16 When the stars come out above, 
And fancy I see you kneeling 

With your blue eyes full of love, 
Breathing my name to Heaven. 

And if, | as the good folks say, 
God hears the prayers of children, 

He'll guard me while I'm away." 17 



CHANGE 
VOICE. 



EARNEST. 



"You needn't have asked me, daddy, 

I always do that !" she said ; 
18 "Don't I pray for you and for mammy 

At night when I go to bed? 
God loves the little children, 

And answers their prayers, they say: 
I'm sure 19 that you'll come back safely, 

I'll ask in my prayers that you may." 



BRIGHT. 



It's only a month since they started. 
We thought when the regiment went 
That long ere the troops were landed 
The force of the war would be spent. 
20 And so | I had taken courage, 

And looked on the bright side first, 
21 Though | now and again I fretted, 
And sometimes I feared the worsi;. 



54 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



QUIET. 



I was left alone with my sorrow — 
22 Alone in my little room, 
Where the evening shadows deepened 

Into the twilight gloom. 
23 I had heard the words they uttered, 

I had seen his name on the list; 
But I sat and peered through the darkness 

As a sailor peers through the mist. 



I sat like a sleeper | doubting 

If she dreams or is wide awake, 
Till the truth came on me fiercely, 
24 And I thought | that my heart would break. 
As I sat in the deepening gloaming 
The child came back again, 
25 And I picked her up | and kissed her 
26 While my tears ran down like rain. 



coax- 

INGLY. 



27 "Why are you crying, mammy?" | 
I only shook 28 my head. 
"It's nothing, Nellie/' I whispered ; 
29 "'Kiss me and go to bed." 
"Let me say my prayers, mammy — 
Will you hear me say them now ?" 
30 She prayed for her absent father; 
I listened, but God knows how. 



REVER- 
ENTLY. 



BRIGHT. 



She prayed to the Lord | to bring him, 

Safe and sound and well, 
Back from the far-off country 

To mother and little Nell — 
31 Prayed that, with her father lying 

In that far-off country | dead ! 
"Now, | father's safe till to-morrow," 

She whispered, and went to bed. 



I hadn't the heart to tell her, 
So night after night she prayed, 

Just as she promised her father 
When the last good-bye he bade. 



NELLIE'S PRAYER. 



55 



32 But the prayer was a cruel dagger 
To me as I sat and heard, 
And my heart was stabbed to bleeding 
With every childish word. 



FORCEFUL. 



So | a weary month went over, 

Till at last my nerves gave way, 
33 And I told her to stop | one evening, 

As she came to my knee to pray. 
34 My brain | was turned with sorrow, 

I was wicked and weak and wild | 
To speak | as I spoke that evening, 

And shock the faith of a child. 



SLOW. 



35 She | heard what I said; then, sobbing, 

Broke from my knee and fled 
Up to her room, | and I heard her, 

Kneeling beside her bed. 
She prayed in her childish fashion, 
36 But her words | were choked | with tears 
I had told her | it wasn't always \ 

God | the prayer of the children hears. 



BRISKER. 



INCREASED 
FORCE. 



VERT LOUD. 



She prayed 37 that her absent father 
Might come back safe and well, 

From the perils of war and battle, 
To mother and little Nell. 

And, ere ever her prayer was finished, 
The door | was 38 opened | wide, 

And my darling rushed towards me — 

My DARLING WHO HAD DIED ! 



39 I gave one cry and I fainted, 
And Nell ran down at the cry: 
"They said God wouldn't hear me," 
She told him by and by. 
40 When the shock of surprise was over 
We knew what the miracle meant, 
There' d been a mistake in the bodies, 
And the news | to the wrong wife sent. 



56 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

41 There were two of his name in the regiment, 
The other was killed, and when 

It came to making the list out 
An error was made in the men. 

Yet | I think as I clasp my darling, 42 
Would he still be there to-day 

Had I taken Nell's simple tenet, 

VERY IM- A» iir{ r f „ 

pressive. God listens when children pray. 



1 Hands clasped. 2 Touch lips and sway hand outward. 3 Bend down 
— touch lips again. 4 Point to front. 5 No. 13 hand plate. 6 Hands and 
eyes directed upward. 7 Wring your hands. 8 Hands together — prayer- 
ful attitude. 9 Fingers of both hands on temples. 10 Opened hand to 
side of mouth then wave hand over head. n Outward movement — both 
arms as in No. 5 arm plate. 12 As if patting her on head. 13 Action of 
lifting her. 14 Put hands over opposite shoulders crossing the arms. 
15 Hold previous position and lean head to left side. 16 Point and look 
upward. 17 Action as if holding her head between your hands and of 
kissing her. 18 No. 9 hand plate. 19 Shake the head slowly. 20 No. 11 
hand plate. 21 Raise arms as in No. 1 arm plate. 22 Hands folded — 
general air of dejection. 23 One hand covering the other folded under 
chin. 24 Hands over heart. 25 As if lifting and kissing. 26 Wipe tears 
from eye. 27 Extend hands upward. 28 Shake head. 29 Extend arms down- 
ward. 30 Clasp hands. 31 Left hand to side of head and right hand 
pointing in front. 32 Hands clasped — resting on breast. 33 No. 3 arm 
plate. 34 Both hands holding head. 35 Sweep right hand from breast out- 
ward, then point upward. 36 Hand clutching throat. S7 No. 13 hand 
plate. 38 Swing arms widely apart — advance right foot — head back — 
action very forceful— hold till end of stanza. 39 Drop hands. 40 No. 1 
hand plate. 41 No. 1 hand plate. 42 No. 14 hand plate. 43 Point and look 
upward. 



16-THE LEVEL CROSSING. 

[The speaker is supposed to be a railway laborer, and the story is 
founded on an incident which occurred on an English railway. The 
provincial dialect should be assumed throughout the delivery of the 
poem.] 

Joe Smith? Yes, 1 mates, I knew him well — 
use pro- As rough as rough could be ; 

VI di C alect. Yet, | spite of all that parsons say, 
There's worse on earth than he! 

very There wasn't much of the saint in him, 



NATURAL. 



2 0nly I he never lied, 



THE LEVEL CROSSING. 



57 



And few | who've lived a better life 
A nobler death have died. 



REMI- 
NISCENT. 



RATHER 
SLOW. 



SLOW. 



QUICK 
TIME. 



His death? 3 Ay, lads, I mind it well, 

And how the sun did shine 
On the level crossing that morn, 

Athwart the railway line ! 

The gates were shut and fastened, 
That no one might pass through; 
4 A distant rumbling | plainly told 
The Scotch express was due. 

On the 5 hillside I was working, 

While Joe sat on the grass, 
Waiting alongside the rails below, 

Until the train should pass. 

The morn 6 was cool, | and bright, | and still, 
The lark sang shrill and clear; 

I always think of Joe, poor lad, 
Whene'er that song I hear. 

7 He sat by the railway smoking, 
8 Thinking of who can say? 
Mayhap of last night's fun, mayhap 
Of some one far away ! 

9 I wrought | and listened, | when 10 sudden 

There came a cry from Joe ; 
n I turned ; oh, heav'n ! how faint I felt 

At what I saw below ! 



QUICK. 



12 The gates, I said, were bolted fast ; 
But | clamb'ring through the fence, 
On to the line had strayed a child. 
13 Heav'n help its innocence ! 

14 There came the engine tearing on, 
With its exulting scream, 
Ruthless it seemed and fiercely sped, like 
A monster in a dream. 



58 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



VERY 
RAPID. 



LOUD. 



15 Right on the track the infant stood, 
A primrose in its hand, 
And on the coming death it smiled, 
Too young to understand. 

One moment more had been too late : 
16 Joe | bounded to his feet, 
And on with some fierce word he dashed 
As any racehorse fleet. 

I, on the hillside, 17 saw him rush 
Straight to the jaws of death, 
18 And up the hillside seemed to come 
The engine's fiery breath. 



His strong hand 19 seized and threw 20 the child 

Right there, beside the brook; 
A few sharp stings from the thorny side, 

Was all the harm it took! 



LOW. 



INTENSE. 



But Joe, 21 poor lad, 'twas worse for him- 

The engine left him lying 
Beside the rails, a ghastly heap — 

Torn, bleeding, stunned and dying! 



SLOW. 



22 We raised him up. I held him, 
23 His head on my arm laid. 
He spake | but once again, | brave lad, 
24 And this was all he said : 



u The chick's \ pulled through, \ I hope'' and 

then 
25 Lay closer to my breast. 
I need not tell you more, my mates, 
You all must know the rest. 



A rough-shaped cross marks where he lies, 
26 There on the lone hillside, 



THE TWINS. 



59 



And Tom, the parson, said 'twas right, 
'Cos Joe for man had died. 



QUIET. 



SYMPA- 
THETIC. 



27 And wild flowers | ofttimes | you will see 
Laid lightly on the grave, 
Put there by her, now woman grown, 
Whom Joe Smith died to save. 



1 Both hands resting on lips. 2 Strike right fist into left hand. 
3 Scratching head. 4 Point left. 5 Point right — left hand on hip. 6 Hands 
in pockets — sway body gently. 7 Point and turn to the left. 8 Fold arms 
and nod slowly. 9 No. 1 hand plate. 10 Strike hands together quickly 
then point left. u Quick movement. 12 Still pointing left — bend forward 
anxiously. 13 Bring hand together, look up. 14 Point with left hand. 
15 Point with left hand. 16 Strike left hand with the right then throw 
right quickly outward. 17 Throw both arms forward — hands as in 
No. 6 hand plate. 18 Point index finger left hand. 19 Action of grasping 
child. 20 Swing right arm from the breast to the right. 21 Fingers in 
vest pockets, head hanging forward and down. 22 Action of lifting. 23 Ex- 
tend left arm and touch it with right hand. 24 No. 1 hand plate. 
25 Touch breast. 26 Point right. 27 No. 1 hand plate, direct the gesture 
downward. 



17-THE TWINS. 

Henry S. Leigh. 
In form and features, face and limb 
*I grew so like my 2 brother, 
quick. That folks got taking me 3 for him* 

5 And each one for another. 
It puzzled all our kith and kin, 
It reached a fearful 6 pitch; 
Tor one of us was born a twin, 
And not a soul knew which. 



HUMOR- 
OUS. 



LIGHT. 



One day 8 to make the matter worse, 

Before our names were fixed, 
As we were being washed by nurse, 

We got 9 completely mixed; 
And thus, | you see, | by fate's decree, 

Or rather nurse's whim, 
10 My brother John got christened me, 11 

And 12 / got christened him. 13 



60 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

This fatal likeness | ever dogged ^ 

My footsteps when at school, 
14 And I | was always getting flogged, 

When 15 John turned out a fool. 
I put this question, fruitlessly, 

To every one I knew, 
"What would you do, if you 16 were 17 me, 

To prove | that you 18 were you ?" 19 

Our close resemblance | turned the tide 

Of my domestic life, 
For, somehow, 20 my intended bride 

Became my brother's wife. 
In fact, year after year the same 

Absurd mistakes went on, 
loud for And when 21 / died the neighbors came 

And buried brother John. 22 



1 Touch your breast. 2 No. 1 hand plate. 3 Touch breast. 4 No. 1 
hand plate. 5 Both hands out — palms up. 6 Bring right hand down in 
front emphatically. 7 Touch breast with both hands then throw them 
forward. 8 Shake index finger. 9 Cross the hands repeatedly. 10 Point 
in front. lx Point to breast. 12 Point to breast. 93 Point outward. 
14 Point to breast. 15 Point outward. 16 Point outward. 17 Point to breast. 
18 Point outward. 19 Point outward. 20 No. 7 hand plate. 21 Both hands 
on breast, bend toward audience. 22 Extend hands. 



THE CHILDREN. 



61 



MODERATE 
TONE. 



MEDIUM 
TIME. 



RATHER 
SLOW. 



ADVICE. 



18-THE CHILDREN. 

When the lessons and tasks are all ended, 

And the school for the day is 1 dismissed, 
And the little ones 2 gather aronnd me, 

To bid me good-night and be kissed ; 
Oh, the little white arms | that encircle 3 

My neck in a tender embrace ! 
Oh, the smiles | that are halos of heaven, 4 

Shedding sunshine of love on my face ! 

And | when they are gone | I sit 5 dreaming 

Of my childhood too lovely to last : 
Of love | that my heart will remember, 

When it wakes to the pulse of the past, 
Ere the world and its wicknedness | made me 

A partner of sorrow and sin, 
6 When the glory of God I was above me, 

And the glory of 7 gladness | within. 

Oh, my 8 heart grows weak as a woman's, 
And the fountains of feeling will now, 

When I think of the paths, 9 steep and stony, 
Where the feet of the dear ones must go ; 

Of the 10 mountains of sins hanging o'er them, 
Of the tempest of fate blowing wild; 

Oh, there's nothing on earth | half so holy, 

n As the innocent heart of a child! 

They are 12 idols of hearts and of households, 
13 They are angels of God in disguise; 
His sunlight still sleeps in their tresses, 

His glory still gleams in their eyes ; 
Oh ! those truants from home and from heaven. 
They have made me | more manly and mild ! 
14 And I know | how Jesus | could liken 
15 The Kingdom of God \ to a child. 

16 Seek not a life for the dear ones, 

All radiant | as others have done, 
16 But that life may have just enough shadow 

To temper the glare of the sun; 



62 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



REGRET- 
FULLY. 



DEJECTED. 



18 I would pray God | to guard them from evil, 
But | my prayer would bound back to myself. 
Ah ! a seraph may pray for a sinner, 
20 But a sinner must pray for himself. 

21 The twig is so easily bended, 

I have banished \ 22 the rule and the rod ; 
I have taught them 23 the goodness of knowledge, 
24 They have taught me the goodness of God ; 
25 My heart is a dungeon of darkness, 

Where I shut them from breaking a rule ; 
My frown is sufficient correction ; 
26 My love | is the law of the school. 

I shall leave 27 the old house in the autumn, 

To traverse its threshold | no more; 
Ah! how I shall 28 sigh for the dear ones, 

That meet me each morn at the door ! 
I shall miss the "good-nights" and the kisses, 29 

And the gush of their innocent glee, 
30 The group on the green | and the flowers , 

That are brought every morning to me. 



SOLEMN. 



I shall miss them at morn and at even, 
31 Their song in the school and the street: 
I shall miss the low hum of their voices 
32 And the tramp of their delicate feet. 
When the lessons and tasks are all ended, 
And Death says, | "The school is dismissed V 
34 May the little ones | gather around me, 
To bid me good-night and be hissed. 



'33 



1 No. 5 arm plate. 2 Both arms and hands as in No. 2 arm plate. 
3 Cross the hands about the neck. 4 Same position — eyes up. 5 Right 
hand supporting cheek — left hand supporting right elbow. 6 Both hands 
up as in No. 4 arm plate. 7 Opened hand to breast. 8 Hand to heart. 
9 Point down. 10 Both hands well up— palms out. X1 No. 13 hand plate. 
12 No. 1 hand plate. 13 Point upward. 14 Shake head slowly. 15 Point up. 
16 Wave right hand to right — palm down. 17 Both hands extended — palms 
up. 18 Clasp hands reverently. 19 Touch breast. 20 Both hands on breast 
— head bowed. 21 Place finger and thumb together with both hands — 
show the bending. 23 No. 1 hand plate. 24 Hand to breast. 23 Hand on 
heart. 26 Repeat 25 . 27 No. 8 arm plate. 28 Sigh. 29 Send fingers from 
lips outward. 30 Both hands pointing down palms up. 31 Swing hand 
from mouth upward. 32 Wave hands alternately up and down to imi- 
tate pattering of feet. 33 Move both hands as in No. 5 arm plate. 
34 Arms out horizontal — eyes up. 



THE REAPER AND THE FLOWERS. 



C3 



SOLEMN. 



SPEAK DE- 
LIBER- 
ATELY. 



GENTLY. 



19-THE REAPER AND THE FLOWERS. 

Henry Wads-worth Longfellow. 

1 There is a Beaper, whose name is Death, 

And, with his sickle keen, 
2 He reaps the bearded grain at a breath, 
3 And the flowers that grow between. 

"Shall 4 I | have nought that is fair?" saith he; 
"Have nought bnt the bearded grain? 
5 Though the breath of these flowers is sweet to me 
6 I will give them all | back again." 

He gazed at the flowers with tearful eyes, 

7 He kissed their drooping leaves; 
It was for the Lord of Paradise 
He bound them in his sheaves. 



8 "My Lord has need of these flowerets gay," 
The Eeaper said, and smiled; 

9 "Dear tokens of the earth are they, 
Where He was once a child. 

"They shall all bloom 10 in fields of light, 
Transplanted | by my care; 
11 And saints | upon their garments white 
These sacred blossoms wear." 



TEAR- 
FULLY. 



And the mother gave, in tears and pain, 

The flowers | she most did love; 
She knew she should find them all again 
13 In the fields of light above. 



*No. 12 hand plate. - A curved movement of the arms. 3 Point down- 
ward. 4 No. 7 arm plate. 5 Both hands down — palms out. 8 Fingers 
touching breast — wave the hands outward. 7 Direct fingers from the lips 
downward. s No. 4 hand plate. 9 Thumb and finger together — look down- 
ward. lu Point slowly upward. X1 Retain same gesture. 12 Hands clasped 
at breast and slightly shake them. 13 Slowly raise right hand above 
head — pointing with first finger. 



64 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



READ DE- 
LIBER- 
ATELY AND 



20-FOOTSTEPS OF ANGELS. 

Longfellow. 

When the hours of Day 1 are numbered, 

And the voices of the Night 
2 Wake the better soul, that slumbered, | 

To a holy, calm delight ; 



OBSERVE 
THE 

PAUSES. 



Ere the evening lamps 3 are lighted, 

And, like phantoms grim and tall, 
4 Shadows | from the fitful fire-light 
Dance upon the parlor wall ; 

Then | the forms of the departed | 

5 Enter at the open door; 
6 The beloved, the true-hearted, 
Come to visit me | once more ; 

7 He, the young and strong, who cherished 

Noble longings for the strife, 
8 By the road-side | fell and perished, 
9 Weary with the march of life ! 

They, the holy ones and weakly, 
Who the cross of suffering bore, 
10 Folded their pale hands | so meekly, 
Spake with us on earth | no more! 

And with them the Being Beauteous, 

Who unto my youth was given, 
More than all things else to love me, 
11 And is now a saint in heaven. 



SLOW 
TIME. 



With a slow and noiseless footstep 

Comes that messenger divine, 
Takes 12 the vacant chair beside me, 
13 Lays her gentle hand in mine. 



And she sits | and gazes at me 
With those deep and tender eyes 



THE STORY OF A STOWAWAY. 65 

Like the stars, so still and saint-like, 
Looking downward from the skies. 

14 Uttered not, yet comprehended, 
Is the spirit's voiceless prayer, 
Soft rebukes, in blessings ended, 
15 Breathing | from her lips of air. 

16 Oh, though oft depressed and lonely, 
All my fears are laid aside, 
If I but remember only 
17 Such as these have lived and died! 



1 No. 1 hand plate. 2 Wave both hands inward to breast as in No. 7 
arm plate. 3 Point outward. * Position of fingers like No. 6 hand plate — 
then move hands slowly. 5 Point in front — arm straight — look intently. 
6 Keep same position. 7 Right hand to the front. 8 Bring hand down — 
pointing. 9 Hand to breast. 10 Clasp hands, let them drop. 1X Slowly 
raise finger upward — eyes up. 12 Turn to left and indicate where chair 
is. 13 Place one hand in the other — palms together. 14 No. 5 hand plate. 
15 Touch lips. 16 No. 13 hand plate. 17 Arms well out — palms up. 



21 -THE STORY OF A STOWAWAY. 

Clement Scott. 
Come, 1 my lad, and sit beside me f we have often 
light^ and talked before 

style. Of the hurricane and tempest, and the storms 

on sea and shore : 
When we read of deeds of daring, done for dear 

old England's sake, 
We have cited Nelson's duty, and the enterprise 

of Drake; 
Midst the fever'd 3 din of battle, roll of drum, 

and scream of fife, 
Heroes pass in long procession, calmly yielding 

up their life. 
4 Pomps and pageants have their glory, in cathe- 
dral aisles are seen 
Marble effigies; but seldom of the mercantile 

marine. 
If your playmates love adventure, bid them 

gather round at school 
Whilst you tell them of a hero, Captain Straclian 

of Liverpool. 



Bti STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUD. 



SURPRISE. 



VERY 
LOUD. 



Spite of storm and stress of weather, in a gale 

that lash'd the land, 
On the Cyprian screw steamer, 5 there the Cap- 
tain took his stand. 
6 He | was no fair-weather sailor, and he often 
made the boast 
That the ocean | safer sheltered than the wild 
Carnarvon coast. 
7 He'd a good ship underneath him, and a 8 crew of 
English form, 
So | he sailed from out the Mersey in the hurri- 
cane and storm. 
All the luck was 9 dead against him — with the 
tempest at its height, 
10 Fires expired, and rudders parted, in the middle 

of the night 
n Sails were torn and rent asunder. Then he 

spoke with bated breath : 
12 Save yourselves, my gallant felloivs! we are drift- 
ing to our death I" 

Then | they 13 looked at one another, and they felt 

the 14 awful shock, 
When, with louder crash than tempest, they were 

dashed 15 upon a rock. 
All was over 16 now and hopeless; but | across 17 

those miles of foam 
They could hear the shouts of people, and could 

see the lights of home. 
"All is over!" screamed the Captain. "You 

have answered duty's call. 
Save yourselves! I cannot help you! God have 

mercy on us all!" 
18 So they rushed about like madmen, seizing belt, 

and oar, and rope — 
For the sailor knows where life is, there's the 

faintest ray of hope — 
Then, | amidst the wild confusion, at the dreaded 

dawn of day, 
19 From the hold of that doomed vessel | crept | a 

wretched Stowaway ! 



THE STORY OB^ A STOWAWAY. 67 

20 Who shall tell the saddened story of this miser- 
able lad? 

Was it wild adventures stirred him, | was he 
going to the bad? 

Was he thief, or bully's victim, or a runaway 
from school, 

When he stole that fatal passage from the port 
of Liverpool? 

No one looked at him, or kicked him, 'midst the 
paralyzing roar 

All alone | he felt the danger, and saw the dis- 
tant shore. 
21 Over went the gallant fellows, when the ship 
was breaking fast, 

And the Captain 23 with his lifebelt — he pre- 
pared to follow last ; 

But [ he saw a boy neglected, with a face of ashy 
gray, 
2li "Who are you?" roared out the Captain. 25 "I'm 
the boy what stow'd away!" 

There was scarce another second left to think 

what he could do, 
For the fatal ship was sinking — Death was ready 

for the two. 
quick. 26 So the Captain called the outcast — as he faced 

the tempest wild — 
27 From his own waist took the lifebelt — and he 

bound it round the child! 
"I can swim, my little fellow! Take the belt, 

and make for land. 28 
Up and save yourself!" The outcast humbly 

knelt and kissed his hand. 
With the lifebelt round his body | then | the 

urchin 30 cleared the ship ; 
B1 Over went the gallant Captain, with a blessing 

on his lip. 
But the hurricane howled louder than it ever 

howled before, 
As the Captain | and the stowaway were 32 mak- 
ing for the shore! 



68 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



SLOW. 



33 When you tell this gallant story to your play- 
fellows at school, 

They will ask you of the hero, Captain Strachan, 
of Liverpool. 

You must answer: They discovered, | 34 on the 
beach | at break of day, 

Safe — the battered, breathing body of the little 
Stowaway ; 
35 And they watched the waves of wreckage and 
they searched the cruel shore, 

But the man who tried to save the little outcast 
— was I no 3Q more. 



HEROIC. 



37 When they speak of English heroes, tell this 

story where you can, 
To the everlasting credit | of the bravery of man. 
Tell it out in tones of triumph | or | with tears 

and quickening breath, 



Manhood's 
Love 



stronger far than storms, 
is mightier than 39 Death I" 



and 38 



1 Beckoning gesture right hand. 2 Sit on chair. 3 Right arm and 
hand forward. 4 Both hands extended. 5 Point to front. 8 Hands on* 
knees. 7 Point downward with index finger. 8 No. 5 arm plate. ° Throw 
both forward from face — palms out. 10 Point down. X1 Point up. 
12 Throw right arm quickly — head back. 13 Turn head and body from right 
to left — amazement. 14 Drop hands on knees — look of great astonish- 
ment. 15 Point to right. 16 Hands hanging down — elbows resting on 
legs. 17 Point in front. 18 Wave both arms wildly. 19 Point downward. 
20 No. 5 arm plate, both hands keep same gesture for six lines. 21 Throw 
hands forward, then downward. 23 Both hands to waist. 2i No. 8 arm 
plate. 25 Dejectedly — hang head — hands by sides. 26 Action of beckon- 
ing. 27 Action of taking off belt. 28 Point to front. 29 Right hand ex- 
tended — head down — action of kissing hand. 30 Hands forward then 
downward, imitating diving. 31 Repeat same. 32 Point front. 33 Clasp 
hands and rest elbows on knees. 3i Point downward. 35 Right hand shad- 
ing eyes. 36 Drop hand — dejection. 37 No. 1 hand plate. 38 Hand to 
breast. 39 Point downward. 



THE MAIN-TRUCK: OR, A LEAP FOR LIFE. 



NATURAL 
AND 
LIGHT. 



22-THE MAIN-TRUCK; OR, A LEAP FOR LIFE. 

George P. Morris. 
Old Ironsides 1 at anchor lay, 
In the harbor of Mahon; 
2 A dead calm rested on the bay, 
The waves to sleep had gone; 
3 When | little Hal, the captain's son, 
A lad both brave and good, 
In sport, | up 4 shroud and rigging ran, 
And i on the main-truck stood ! 



5 A shudder shot through every vein, 
6 A11 eyes were turned on high! 
There\ stood the boy, with dizzy brain, 

Between the sea and sky; 
No hold had he above, | below, 

Alone | he stood in air; 
To that far height | none dared to go; 
No aid could reach him there. 



AMAZE- 
MENT. 



7 We gazed, — but not a man could speak ! 
With horror all aghast, 
In groups, with pallid brow and cheek, 

We watched the 8 quivering mast. 
The atmosphere grew thick and hot, 
And of a lurid hue ; 
9 As | riveted unto the spot, 
Stood officers and crew. 



PATHETIC. 



LOUD. 



The father came on deck, 10 he gasped, 
"0 God ! Thy will de done !" 
Then | suddenly | a rifle grasped, 

12 And aimed it at his son, 
"Jump | far out, | boy, into the wave ! 

Jump or / five!" he said; 
"That only chance thy life can save ! 

Jump! jump, boyl" He obeyed. 13 



70 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



CLIMAX. 



He 14 sunk, — he 15 rose, — he 16 lived, — he 
moved, — 
And for the ship struck out ; 
On board, we hailed the lad beloved, 

17 With many a manly shout. 
His father drew, in silent joy, 

18 Those wet arms round his neck, 
Then | folded to his 19 heart his boy, 
20 And fainted on the deck. 



1 Point to right. * Both hands extended — palms down — slowly widen 
them apart. 3 Hand out showing his height. 4 Point upward — keep this 
till end of stanza. 5 Step backward — cross hands on breast. 6 Point up- 
ward to right — advance right foot — head inclined to left — eyes up — hold 
picture till end of stanza. 7 Both hands out — turn quickly from side to 
side — eyes opened wide — fear. 8 Wave hand gently — fingers directed 
upward. 9 Bring hand down quickly. 10 Stagger — clutch throat. u Ad- 
vance to right — slightly bend and grasp rifle. 12 Bring gun to right 
shoulder. 13 Drop rifle. 14 Point down. 15 Elevate hand. 16 Open both 
arms. 17 Wave hand over head as in cheering. 18 Hands to sides of 
neck — arms crossed. 19 Cross arms over breast. 20 Point downward. 



FLOWING. 



LIGHT. 



23-AUCTlON EXTRAORDINARY. 

Lucretia Davidson. 

I dreamed 1 a dream in the midst of my slumbers, 
And as fast I dreamed it, it came into numbers ; 
My thoughts ran along in such 2 beautiful metre, 
Vm sure I ne'er saw any poetry sweeter; 
It seemed | 3 that a law had been recently made, 
That a tax on old bachelors' pates 4 should be 

laid; 

And in order to make them all willing to marry, 

5 The tax was as large as a man could well carry. 

The bachelors 6 grumbled and said 'twas no use — 

7 'Twas horrid injustice and horrid abuse, 

And declared | that to save their own heart's* 

blood from spilling 

Of such a vile tax they would 9 not pay a shilling. 

10 But the rulers | determined them still to pursue, 

So | they set all the old bachelors 11 up at vendue : 

A crier was sent through the town | to | and j 

fro 12 



AUCTION EXTRAORDINARY. 



71 



LOUD. 



LOUD. 



BUR- 
LESQUE. 



13 To rattle his bell | and a trumpet 14 to blow, 
And to call out to all he might meet in his way, 

15 "Ho! | forty | old \ bachelors \ sold \ here \ to- 
day!" 
And presently | all the old maids in the town, G 
Each J in her very best 17 bonnet and gown, 

18 From thirty to sixty, fair, plain, red, and pale. 
Of every description, 19 all flocked to the sale. 
The auctioneer then in his labor began, 
And called out aloud, as he held 20 up a man, 
"How much for a bachelor? who wants to buy? 
In a twink, every maiden responded, "I — I/' 21 
In short, at a highly extravagant price, 
The bachelors all were sold off in a trice: 

22 And forty old maidens, some younger, some 
older, 

23 Each lugged an old bachelor home on 
her shoulder. 



1 Touch forehead to right. 2 No. 1 hand plate. 3 No. 12 hand plate. 
4 Touch the top of head. 5 Both hands out, palms up. * No. 8 hand plate — 
bring hand down forcibly. 7 Repeat the same. 8 Hand to heart. 9 Slap 
right hand on left. 10 No. 7 hand plate — bend forward and look know- 
ingly. 11 Direct right hand upward — palm opened. 12 Wave hand from 
right to left and back. 13 Imitate ringing bell. 14 Opened hand circling 
mouth. 15 Repeat 14 . 16 Hands out — make low feminine bow. 17 Touch 
head and garment. 18 Rock the body — simpering. 19 Both hands — No. 3 
arm plate. 20 Hold up in front right hand, fingers shut. 21 Both hands 
thrown up over head — fingers open — jump upward several times. '- Both 
hand — No. 5 arm plate. 23 Bend forward — place both hands over left 
shoulder — walk three or four steps whilst speaking line. 



72 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



24-THE LIFEBOAT. 



G. R. Sims. 



Narrative in the style of an old sailor. Colloquial and level at first. 
The Wife. — Slow, faint and in a broken whisper. Ben Brown. — Loud, 
strong, and earnest. Reference to the wife should be made in a broken 
voice. Description of the Storm. — With increase in tone and time, 
beginning at the line "We launched the boat," and continuing to "/ 
knowed no more." The last part very bright and ending strong. 



DIALECT. 



DESCRIP- 
TIVE. 



LOW. 



You've heard of the 1 Royal Helen, the ship 
as was wrecked last year; 
2 Yon | be the rock she struck on — the boat as 
went out be here ; 
The night as she struck | was reckoned the worst 

as ever we had, 
And this is a coast in winter | where the weather 
be awful bad; 
3 The beach here | was strewed with wreckage, and 
to tell you the truth, sir, then 
Was the only time as ever we'd a bother to get 

the men. 
I was up at my cottage, | 4 yonder, | where the 
wife lay nigh her end; 
5 She'd been ailin' all the winter and nothnr' ? ud 
make her mend. 
The doctor had given her up, sir, and I knelt 
by her side and pray'd, 
6 With my eyes as red as a babby's, that Death's 

hand might yet be stay'd. 
7 I heard the wild wind howlin', and I looked on 8 
the wasted form, 
And thought | of the awful shipwreck as had 
come in the ragin' storm ; 
9 The wreck of my little homestead — the wreck 
of my dear old wife, 
Who'd sail'd with me forty years, sir, o'er the 
troublous waves of life; 
10 And I looked at the eyes so sunken, as had been 
my harbor lights, 
To tell of the sweet home haven | in the wildest | 

darkest nights. 
She knew | she was sinkin' quickly — she knew j 
as her end was nigh, 



THE LIFEBOAT. 



73 



SORROW- 
FULLY. 



LOW. 
QUIET. 



LOUD. 



But I she never 11 spoke o' the troubles as I knew 

on her heart must lie; 
For we had one great big sorrow | with 12 Jack, | 

our only son — 
He'd got into trouble in London, as lots o' the 

lads ha' done ; 
Then he'd bolted, his master told us — he was 

alius what folks call wild. 
13 From the day as I told his mother, her dear face 

never smiled. 
We heerd no more about him, we never knew 

where he went, 
And | his mother 14 pined and sickened | for the 

message he never sent. 
15 J had my work to think of; but she had her 

grief to nurse, 
So | it eat away at her 16 heart-strings and her 

health grew worse and worse, 
And the night | as the Royal Helen went down 

on 17 yonder sands, 
I sat and watched her dyin' | holdin' 18 her 

wasted hands. 
She moved in her doze a little, then | her eyes 

were opened wide, 
And she seemed to be seekin' something 19 as she 

looked from side to side; 
Then | half to herself she whispered, 20 "Where's | 

Jack | to | say | good-bye ? 
It's hard not to see my darlin', and kiss him 

afore I die !" 
21 I was stoopin' to kiss and soothe her, while the 

tears ran down my cheek, 
And my lips | were shaped to whisper the words 

I couldn't speak, 
When the door of the room 22 burst open, and 

my mates were there outside 
With the news that the boat was launchin', 23 

"You're wanted !" their leader cried. 
"You've never refused to go, John; you'll put 

these cowards right, 
There's a dozen of lives, maybe, John, as lie in 

our hands to-night !" 



74 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



SAD. 



VERY LOW. 



moderate. ? Twas old Ben Brown, the captain ; he'd laughed 

at the women's doubt, 
24 We'd always been first on the beach, sir, when 

the boat was goin' out. 
I didn't move, | but I pointed | 26 to the white 

face | on the bed — 
"I can't go, mate," I murmured; "m an hour 

she may be dead. 
27 I cannot go and leave her to die in the night j 

alone/' 
As I spoke | Ben 28 raised his lantern, and the 

light on my wife was thrown; 
And I saw her eyes fixed strangely with a plead- 
ing look on me, 
While a trembling finger | 29 pointed through the 

door | to the ragin' sea. 
Then she beckoned me near | and whispered, 30 

"Go, | and God's will be done, 
For every lad on that ship, John, is some poor 

mother's son. 
Go, John, | and the Lord | watch 31 o'er you ! and 

spare me to see the light, | 
And bring you safe," she whispered, "out of the 

storm to-night." 
Then I turned and kissed her softly, and tried 

to hide my tears, 32 
And my mates outside | when they saw me set up 

three hearty cheers. 
We launched the boat in the tempest, though 33 

death was the goal in view, 
And never a one but doubted | if the craft could 

live it through; 
But our boat she stood it bravely, | and weary, 

and wet, and weak, 
34 We drew in hail of the vessel we had dared so 

much to seek. 
But | just as we came upon her, she gave a 35 

fearful roll, 
surprise. And went down in the seethin' whirlpool 36 with 

every livin soul! 
We rowed for the spot, ] and shouted, | for all 

around was dark — 



THE LIFEBOAT. 



75 



QUICK. 



SUB- 
DUED. 



But only the wild wind answered the cries from 

our plungin' bark. 
37 I was strainin' my eyes and watchin', when | I 

thought I heard a cry; 
And I saw past our bows | a somethin' on the 

crest of a wave dash by ; 38 
38 I stretched out my hand to seize it. I dragged 

it aboard, and then 
I stumbled and struck my forrud, 40 and 41 fell 

like a log on Ben. 
I remember a hum of voices, and then | I knowed 

no more 
Till I came to my senses here, sir — here in my 

home ashore. 
42 My forrud was tightly bandaged, and I lay on 

my little bed — 
I'd slipped, so they told me arter, and a row- 
lock had struck my head. 
Then my mates came in and whispered; they'd 

heard I was coming round, 
At first I could scarcely hear 'em, it seemed 

like a buzzing sound; 
But as soon as my head got clearer, and ac- 
customed to hear 'em speak, 
I knew | as I'd lain like that, sir, for many | a 

long, | long week. 
43 I guessed what the lads were hidin', for their 

poor old shipmate's sake, 
I could see by their puzzled faces they'd got 

some news to break; 
So | I lifts my head from the pillow and I says 

to Old Ben, "Look 44 here— 
I'm able to bear it now, lad — tell me, and never 

fear." 
Not one on 'em ever answered, but presently 

Ben goes out, 
And the other slinks away like, and I says, 

"What's that about? 
45 Why can't they tell me plainly as the poor old 

wife is dead ?" 
Then I fell again on the pillows, and I hid my 

achin' head; 



LOUD. 



76 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



I lay like that for a minute, till I heard a voice 
cry "John." 46 

And I thought it must be a vision as my weak 
eyes gazed upon: 
47 For there by the bedside standing up and well, 
was my wife. 

And who do ye think was with her? Why, 
Jack, as large as life! 

It was Mm as I saved from drownin' | the night 
as the lifeboat went 

To the wreck of the Royal Helen; 'twas that 
as the vision meant. 

They'd brought us ashore together; he'd knelt 
by his mother's bed, 
49 And the sudden joy had raised her like a mir- 
acle | from the dead : 

And mother and son together had nursed me 
back to life, 

And my old eyes 50 woke from darkness to look 
on my son and wife. 

Jack? He's our right hand now, sir; 'twas 51 
Providence pulled him through — 

He's alius the first 52 aboard her | when the life- 
boat wants a crew. 



EXULT- 
ING. 



1 Hands behind back — attitude careless. 2 Point front. 3 Both hands 
directed to the ground. 4 Point to right — rather awkwardly — sway body. ' 
5 Shake head twice. 6 Rub both eyes. 7 Look around — express wonder. 
8 Point downward. 9 Clasp hands — move about uneasily. 10 Point and 
bend downward. " Hands on hips — shake head. 12 Abrupt nervous move- 
ment of hand. 13 No. 12 hand plate. 14 Wave hands in front up and 
down. 15 Touch breast. 16 Hand on heart. 17 Point to front. 18 Hand 
extended and closed — bend. 19 Turn head and body slowly — expression 
of eagerness. 20 Bring fingers to lips — speak very quietly and slowly. 
21 Bend down — rub cheeks with fingers. 22 Quickly stand erect — swing 
both hands from the center wide apart. 23 Right arm extended outward 
and upward — keep this for two lines. 25 Hands in pockets. 28 Point 
down. 27 Shake head sorrowfully. 2S Imitate holding up lantern. 29 Point 
front with index finger. 30 Clasp hands. 31 Raise hand reverently as in 
No. 4 arm plate. 32 Rubbing eyes. 33 No. 1 hand plate. 34 Repeat same. 
35 Roll the hand over in front. 36 Make circular movement with first 
finger — -it pointing downward. 37 Shading eyes with hand, bend forward — 
advance right foot. 38 Sweep hand across body. 39 Action of seizing. 
40 Touch forehead. 41 Drop both hands in front. 42 Rub hand across fore- 
head. 43 Hands behind back. 44 No. 1 hand plate. * 5 Both hands extended 
appealingly. 46 Right touching ear — eyes bright, excitement. 47 Point in 
front. 48 Slap the leg strongly. 49 Elevate both hands. 50 Rub eyes once 
with both hands. 51 Point upward. 52 No. 1 hand plate. 



LULU'S COMPLAINT. 



77 



SPEAK 
SLOWLY 
AND 
SIMPLY 



25-LULU'S COMPLAINT. 

Fse a 1 poor | 'ittle | sorrowful baby, 
For Bidget is way 2 downstairs, 

My titten has scratched my fin'er, 3 
And Dolly | wont 4 say her p'ayers. 



I hain't seen my bootiful mamma 
Since ever 5 so long ado ; 
6 An' I ain't her tunninest baby 
No londer, | for Bidget 7 says so. 

Mamma's dot anoder 8 new baby; 
9 Dod dived it — He did — yes'erday ; 
10 And it kies, | it kies — oh, | so deffulf 
n I wis' He would tate it away. 

12 I don't | want | no | "sweet | 'ittle | sister" ; 
I want my dood mamma, I do; 
I want her to tiss me 13 and tiss me, 
An' tall me her p'ecious Lulu. 

I dess my dear papa will bin' me 
A 'ittle dood titten | some day; 
14 Here's nurse wid my mamma's new baby; 
15 I wis' she would tate it away. 

1Q 01i, oli ! what tunnin' red fin'ers ! 
17 It sees me 'ite out of its eyes; 
I dess we will teep it, and dive it 
Some can'y I whenever it kies. 



I dess I will dive it my dolly 
18 To play wid 'mos' every day; 
9 And I dess, I dess — | Say, 20 Bidget, 
Ask Dod | not to take it away. 



1 Hand on breast — shake head. - Point down. 3 Hold up finger. 
4 Turn body from side to side poutingly. 5 No. 3 arm plate. 6 Repeat *. 
7 Shake one finger. 8 No. 14, arm plate. 9 Point up. 10 Downward gesture 
with right hand twice — bend slightly — raise right foot twice. " A 
petulant movement of hands. 12 Nod head at each word. 13 Kiss hand 
outward. 14 Run three steps and point. 15 Turn left shoulder from audi- 
ence and speak over right shoulder. 16 Clapping hands. 17 Point. 
18 Both hands extended. 19 Right hand under right cheek, slowly nodding 
head. 20 Right hand out. 



78 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



MEASURED 
READING. 



MEDIUM 
VOICE. 



26-PRESS ON. 

FROM A VALEDICTORY POEM. 

N. P. Willis. 

We shall go 1 forth together. There will come 
Alike the day of trial unto 2 all, 
And the rude world will buffet us alike. 
3 Temptation | hath a music for all 4 ears; 
And mad ambition 5 trumpeteth to all; 
And the ungovernable 6 thoughts within 
Will be in every bosom eloquent; — 
7 But | when the silence and the calm come on, 
And the high seal of character is set, 
8 We shall not all be similar. The flow 
Of lifetime is a 9 graduated scale, 
And deeper than the vanities of power, 
Or the vain pomp of glory, there is writ 
A standard measuring its worth 10 for Heaven. 

11 The pathway to the grave may be the same, 
And the proud man shall tread it, and the low, 
With his bow'd head, shall bear him company. 

12 Decay will make no difference, and death, 
With his cold hand, shall make no difference ; 
And there will be no precedence of power, 
In waking at the coming trump of God ; 

13 But | in the temper of the invisible mind, 
The godlike and undying intellect, 
There are 1 * distinctions that will live in Heaven, 
When time is a forgotten circumstance! 



15 The soul of man 
Createth its own destiny of power; 
And as the trial is intenser \ here, 
His being hath a 16 nobler strength in Heaven. 



EARNEST. 



What is its earthly victory ! 17 Press on ! 
F»r it hath tempted angels. 18 Yet press on! 
For it shall make you mighty among men ; 
19 And from the eyrie of your eagle thought, 
Ye shall look down on monarchs. 20 press on, 
For the high ones and powerful shall come 
To do you reverence : and the beautiful 



ANTONY'S SPEECH OVER CESAR'S BODY. 



79 



FORCE. 



Will know the purer language of your brow, 

And read it like a talisman of love ! 
22 Press on! for it is godlike to unloose 

The spirit, and forget yourself in thought ; 

Bending a pinion for the deeper sky, 
23 And, in the very fetters of your flesh, 

Mating with the pure essences of Heaven ! 

Press on! — 24 for in the grave | there is no work, 

And no device." 25 — Press on ! while yet ye 



may 



1 Stand naturally — gracefully put forth the right hand. * Both hands 
out. 3 Right hand, No. 1 hand plate. 4 Indicate where ear is. 5 Touch 
lips and throw fingers outward. e Touch breast. 7 Step forward — bend — 
extend right hand — palm down. 8 Stand straight — drop hand. 9 Quick 
movement of hand, showing various heights. 10 No. 4 arm plate. 1X Point 
downward. 12 Sway hand from side to side, several times, palm down. 
13 Touch forehead — advance to the left. 14 Bring hand down front with 
emphasis. 15 Hand open on breast — head thrown back. 16 Point up. 
17 Throw hand, palm forward — advance — emphatic — loud. 18 Repeat 17 . 
19 Point upward with right hand. 20 Repeat 17 . 21 Repeat 17 — but less in- 
tense. 23 Both hands tightly grasping breast. 2i Point downward — ad- 
vance. " No. 5 arm plate. 



QUIET. 



INSINU- 
ATING. 



STRONG. 



27-ANTONY'S SPEECH OVER CAESAR'S BODY. 

Shakespeare. 

Friends, 1 Komans, countrymen, 

I come to 2 bury Caesar, not \ to praise him. 
3 The evil, that men do, lives after them; 

The good is oft interred with their bones; 
4 So let it be with Caesar. The noble Brutus 5 

Hath told you, Caesar was ambitious; 
6 If it were so, it was a grievous fault; 

And 7 grievously | hath Caesar answer d it. 
8 Here, under leave of Brutus, and the rest, 
9 (For Brutus is an honorable man ; 
10 So are they all, all honorable men;) 
n Come I | to speak in Caesar's funeral. 

He was 12 my friend, faithful and just to me : 
13 But Brutus says he was ambitious; 

And Brutus is an honorable man. 
14 He hath brought many captives to Eome, 

Whose ransoms | did the general coffers fill: 
15 Did this in Caesar seem ambitious? 

When that the poor have cried, Caesar hath 
wept : 
16 Ambition I should be made of sterner stuff : 



80 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



WITH 

FEELING. 



^earnest 17 Yet Brutus says he was ambitious; 
and *" And Brutus | is an honorable man. 

direct. 18You all did gee? that on the Lupe rcal, 

I thrice presented him a kingly crown, 

Which he did thrice refuse. 19 Was this am- 
bition ? 
20 Yet Brutus says he was ambitious; 

And, sure, | he is an honorable man. 

I speak not to disprove what Brutus spoke, 
21 But here I am | to speak what I do know. 
22 You all | did love him once, not without cause ; 
23 What cause withholds you then to mourn for 

him? 
24 judgment, | thou art fled to brutish beasts, 

And men have lost their reason ! — bear with 
me. || 
25 My heart is in the coffin there | with Caesar, 

And I must pause | 'till it come back to me. 26 . 

But yesterday, 27 the word of Caesar might 

Have stood against the 28 world: 29 now | lies he 
there 

And none so poor to do him reverence. 
30 masters! if I were dispos'd to stir 

Your hearts and minds to mutiny and rage, • 
31 I should do Brutus wrong, and Cassius wrong, 

Who, you all know, are honorable men: 
32 I will not do them wrong ; I rather choose 
33 To wrong the dead, to wrong my self M and you 35 

Than I will wrong such ^honorable men. 

1 Both hands extended appealingly — increase tone on each word of 
first line. 2 Point downward. 3 Left hand, No. 1 hand plate — turn to left. 

4 Point downward — emphasize with index finger. 5 Point to left. 6 No. 

5 arm plate — bend forward. 7 Point downward — sorrowful bearing. 8 Left 
hand extended to left — palm up. 9 Right hand on breast — bend forward 
respectfully. 10 Both hands extended — attitude of great respect. " Right 
hand to breast. 12 Repeat "—throw head back. 13 Left hand to left. 
14 Advance to right — right hand, No. 1 hand plate. 15 Bend toward audi- 
ence. 16 No. 4 arm plate — shake index finger. 17 Left hand to left — sub- 
missively. 18 Advance to front — both arms extended. 19 Right hand to 
right — palm up. 20 Left hand to left — then bring right hand to breast. 
21 No.l hand plate — wave hand up and down. 22 Advance — both hands out. 
23 No. 4 arm plate — head up — left foot back. 24 Both fists elevated on 
either side of head— head thrown back— chest out— very loud. 25 Hand to 
heart — dejection manner. 20 Turn your back on audience for a short 

Sause. 27 Step to right — right hand out. 28 Both arms well out. 29 Point 
own. 30 Clasp hands under chin — look downward. 31 Point left. 32 Bring 
right hand down forcibly. 33 Point down. 34 Touch breast. 35 Both 
hands to front. 36 Swing right arm to right — very sarcastic manner. 



SLOW. 



LOUD. 



QUIET. 
DIRECT. 



ANTONY'S SPEECH OVER CAESAR'S BODY. 



81 



28-THE SAME-Continued. 



Shakespeare. 



APPEAL- 
ING. 



STRONG. 



LOUD. 



PATHET- 
IC. 



1 — Brutus, as you know, was Caesar's angel; 

Judge, | you gods, how dearly Caesar loved 
him ! 
2 This was the most unJcindest cut of all: 

For when the noble Caesar saw him stab, 3 
^Ingratitude, | more strong than traitor's arms, 

Quite vanquish'd him: then burst 6 his mighty 
heart ; 

And, | in his mantle muffling up his face, 6 
7 Even at the base of Pompey's statue, 

Which all the while ran blood, great 8 Casar fell. 
9 0, what a fall was there, my countrymen ! 
10 Then I, and you, and all of us fell down, 
n Whilst bloody treason | flourished over us, 
12 0, now you weep, and I perceive you feel 

The dint of pity: these are gracious drops 13 

Kind souls, | what, | weep you, when you but 
behold 
14 Our Caesar's vesture wounded ? Look you here. 16 

Here is himself, | marrd as you see | with 
traitors. 



quick. 16 Good friends, sweet friends, let me not stir you 

up 
To such a sudden flood of mutiny. 
17 They, that have done this deed, are honorable, 
What private griefs they have, alas, I know not, 18 
That made them do it; 19 they were wise and 

honorable, 
And will, no doubt, with reasons answer you. 
20 X come not, friends, to steal away your hearts; 
I am no orator, as Brutus is: 
But, | as you know me all, | a plain blunt man, 
21 That love my friend: and that they know full 
well 
That gave me public leave to speak of him. 
22 For I have neither ivit, nor words, nor worth, 
quick. Action, nor utterance, nor the power of speech, 

To stir men's blood: I only speak right on: 



RATHER 
SLOW. 



82 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

23 I tell you that, which you yourselves do know : 
loud. 24 Show you sweet Caesar's wounds, poor, poor, 

dumb mouths, 
And bid them speak for me : But | were / | 
Brutus, 25 
And Brutus | Antony, there were an Antony 
26 Would ruffle up your spirits, and put a tongue 
In every wound of Caesar, that should move 

RANT. 27 THE STONES OF ROME TO RISE AND MUTINY. 

1 Bend well forward — raise right hand over head. 2 Point down in 
front. 3 Point to front. i Shake both fists forward. 5 Both hands clinched 
over heart and throw them violently to front. 6 Action of covering face. 
7 Point downward. 8 Bring hand straight down in front. 9 Clasping hand 
violently — expression of intense pain. 10 Point to self — in front — then 
double outward gesture. 1X Wave right hand upward and wildly. 12 Hands 
clasped downward. 13 Right hand, No. 1 hand plate. 14 Bend over — hand 
extended. 15 Hand brought quickly upward as if stripping garment from 
corpse. 16 Arms out — quick turns to right and left. 17 Right to right side. 
18 Hand on breast — shake head. 19 Bring down hand quickly. 20 Hand 
to breast — then quickly extended. 21 Bend down — clasp hands. 22 Quick 
upward and downward movement of hand on emphatic words. 23 Advance — 
both hands out — appealing. 24 Bend down — touch body. 25 Stand at full 
height— raise right hand — very loud — advance and stamp foot on word 
"there." 26 Point downward quickly. 27 Both hands and arms extended 
— shake them violently — stand on picture. 



29-THE DROWNED MARINER. 

E. Oakes Smith. 

light A mariner sat 1 on the shrouds one night, 

RA quwk ^e w ^ n d was pipi n g free; 

2 Now bright, now dimm'd was the moonlight 

pale, 
3 And the phospor gleam' d in the wake of the 
whale, 
As it flounder' d in the sea ; 
The scud was flying athwart the sky, 4 
The gathering winds went whistling by, 5 
6 And the wave, as it tower' d, then fell in spray, 
Look'd an emerald wall in the moonlight ray. 

7 Wild the ship rocks, but he | swingeth at ease, 

8 And holdeth by the shroud ; 
And as she careens to the crowding breeze, 
9 The gaping deep the mariner sees, 
And the surging heareth loud. 



THE DROWNED MARINER. 



83 



{SURPRISE. 



10 Was that a face | looking up at him; 

With its pallid cheek and its cold eyes dim? 
n Did it beckon him down? Did it call his 
name f 12 

Now rolleth the ship the way whence it came. 



The mariner looked, | and he saw with dread, 

13 A face he knew too well; 
And the cold eyes glared, the eyes of the dead, 
And its long hair out on the wave was spread, — 

14 Was there a tale to tell ? 
The stont ship rock'd with a reeling speed, — 
And the mariner groaned, as well he need, 
For ever down as she plunged on her side, 
15 The dead face gleam' d from the briny tide. 



hurried. Bethink thee, mariner, well of the past: 

A voice calls lond for thee: 
There's a stifled prayer, the first, | the last; 
The plunging ship on her beams is cast, — 
16 0, where shall thy burial be? 



SLOWLY. 



Alone in the dark, | alone as the wave, 
To buffet the storm alone; 
17 To struggle aghast at thy watery grave, 
To struggle, and feel there is none to save ! 

18 God shield thee, helpless one! 
The stout limbs yield, for their strength is past ; 
The trembling hands on ,the deep are cast ; 
The white brow gleams a moment more, 
19 Then slowly sinks, — the struggle is o'er. 



20 Down, down where the storm is hush'd to sleep, 
orotund. Where the sea its dirge shall swell ; 

Where the amber drops for thee shall weep, 
And the rose-lipp'd shell its music keep; 

22 There | thou shalt slumber well. 
The green and the pearl lie heap'd at thy side; 
They fell from the neck of the beautiful bride, 



84 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

From the strong man's hand, from the maiden's 
brow, 
22 As they | slowly | sunk | to the wave below. 

A peopled home is the ocean-bed; 
low. 23 The mot her and child are there: 

The fervent youth and the hoary head, 
sorrow- The maid, with her floating locks outspread, 

FUL - 24 The babe, with its silken hair: 

As the water moveth, they lightly sway, 
And the tranquil lights on their features play: 
And there is each cherish' d and beautiful form, 
25 Away from decay, and aivay from the storm-. 

1 No. 4 arm plate. 2 Wave hands to the sides, then backward to 
center. 3 Point downward to the left. 4 Upward movement of hand. 

5 Sweep right hand from left shoulder across the body — outward. 

6 Raise the hand and arm upward as in No. 1 arm plate. 7 Hold out both 
hands, palms facing — rock the hands from side to side. 8 Right hand 
elevated — hand closed as if holding on — incline body and head to left. 
9 Look downward — fingers pointing downward. 10 Surprised look — point 
down. 1X Make action of beckoning. 12 Touch breast with left hand. 
13 Point down. " Lay left hand on head. 15 Hands out as in No. 6 hand 
plate. 16 Clasp hands over breast — look up — slowly shake the head. 
17 Throw arms about wildly. 18 Hands together prayerfully. 19 Point 
downward. -° Point downward twice with emphasis. 21 Repeat same. 
22 Wave both hands downward. 23 No. 13 hand plate. 24 Quietly brush 
hair back with left hand. 25 Wave upward left hand. 26 Wave upward 
right hand. 



30-FORGIVE AND FORGET. 

M. F. Tupper. 
When streams of unkindness as bitter as gall, 

1 Bubble up from the heart to the tongue, 
And meekness is writhing in torment and thrall, 
By the hands of Ingratitude wrung, — 
2 In the heat of injustice, unwept and unfair, 
While the anguish is festering yet, 
None, none but 3 an angel, \ or God can declare 
"emphatic. 4 "I now | can forgive and forget." 

But, if the bad spirit is chased 5 from the heart, 

6 And the lips are in penitence ^teep'd, 
With the wrong | so repented | the wrath 7 will 
depart, 
Though scorn on injustice were heaped; 



SLOW AND 



FORGIVE AND FORGET. 



85 



For the best compensation is paid for all ill, 
8 When the cheek with contrition is wet, 

And every" one feels it is possible still, 
9 At once | to forgive and forget. 



INFLEC- 
TION. 



10 To forget? It is hard for a man with a mind, 

However his heart may forgive, 
n To blot out all perils and dangers behind, 

And but for the 12 future to live : 
13 Then how shall it be? for at every turn 
Eecollection the spirit will fret, 
And the ashes of injury smolder and burn, 
14 Though we strive \ to forgive and forget. 



Oh, hearken! 15 my tongue shall the riddle 
unseal, 
And mind shall be partner with heart, 
While thee to thyself I bid Conscience 16 reveal, 
And show thee how evil thou art; 
17 Eemember thy follies, thy sins, and — thy crimes, 
18 How vast is that infinite debt ! 
Yet mercy hath seven by seventy times 
Been swift | to 19 forgive and forget! 



20 Brood not on insults or injuries old, 
For thou art injurious too, — 
advising. Count not their sum till the total is told, 

For thou art unkind and untrue : 
21 And if all thy harms are forgotten, forgiven, 
ls Now mercy with justice is met, 
Oh, who would not gladly take lessons of 

Heaven, 
23 Nor learn to forgive and forget? 



Yes, yes; let a man, when his enemy weeps, 
24 Be quick to receive him, a friend; 
25 For thus on his head in kindness he heaps 
Hot coals, — to refine and amend; 



STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOW. 



EMPHATIC. 



26 And hearts that are Christian more eagerly 
yearn, 

As a nurse on her innocent pet, 
27 0ver lips that, once bitter, to penitence turn, 28 

And whisper 29 Forgive and Forget. 



1 Bring right hand from heart to the lips. 2 No. 7 hand plate. 5 Arm 
and hand upward as in No. 4 arm plate. 4 Opened hand on breast — 
slightly incline head forward. 5 Wave hand from heart outward to the 
right. 6 Touch lips. 7 Take arm position No. 6 arm plate and wave the 
hand to the right. 8 Stroke gently the cheek. 9 Hand on breast — bend 
forward. 10 Fold arms over breast, droop head to left side. ll No. 2 
hand plate — slightly wave the hand. 12 Point and step forward. l3 No. 
5 arm plate, both hands. 14 Right to breast. 15 Advance, use No. 13 hand 
plate. 16 Tap the forehead with finger. 17 No. 12 hand plate — move the 
right hand on the emphatic words. 18 Both arms well spread out — palms 
up. 19 Hand to breast. 20 No. 2 hand plate for position, move the hand 
sideway several times. 21 Both hands out. 22 Elevate the right hand — 
advance. 23 Step backward — bring hand to breast. 24 Advance quickly — 
head thrown back — two hands close together and extended. 25 Touch the 
head. 28 Hand to the heart. 27 Touch the lips. 28 Sway right hand from 
the body to the right. 29 Let your clasped hands drop slowly in front — 
bend forward. 



MEDIUM 

TONE. 



SORROW- 
FUL. 



PLAINTIVE 
READING. 



31-THE BRIDGE OF SIGHS. 

Thomas Hood. 
One more 1 unfortunate, weary of breath, rashly 
importunate, gone to her death ! Take her 2 up j 
tenderly — lift her with care: fashioned so slenderly,, 
young and so fair ! Look 3 at her garments, cling- 
ing like cerements; whilst the wave | constantly 
drips from her clothing. Take her 4 up instantly, 
loving, not loathing. Touch her not scornfully, 
think of her mournfully, gentle and humanly; not 
of the stains of her : — all that remains of her now \ 
is 5 pure womanly. Make no deep scrutiny into 
her mutiny, rash and undutiful : 6 past all dis- 
honor, Death has left on her only the beautiful. 
Still, — for all slips of hers, one of Eve's family ! — 
7 wipe those poor lips of hers, oozing so clammily. 
Loop up her tresses escaped from the comb — her 
fair auburn tresses! — whilst wonderment guesses, 
Where 8 was her home? who was her father 1 ? who 
was her mother? had she a sister? had she a 
brother? or was 9 there a dearer one still, and a 



THE BRIDGE OF SIGHS. 



87 



STRONGER 
TONE. 



REVER- 
ENTLY. 



nearer one yet than all other? Alas! 10 for the 
rarity of Christian charity under the sun ! Oh ! 
it was pitiful ! near a 11 whole city full, home she 
had no tie. Sisterly, brotherly, fatherly, motherly 
feelings had changed: love, by harsh evidence, 
thrown from its eminence : 12 even God's providence 
seeming estranged ! 

Where the lamps quiver 13 so far in the river, 
with many a light from window and casement, 
from garret to basement, she stood with amaze- 
ment, houseless — by night. The bleak wind of 
March 14 made her tremble and shiver ; but not the 
dark arch, or the black-flowing river: mad 15 from 
life's history, glad to death's mystery ; swift to be 
hurled any where, 16 any where, out of the world ! 
In 17 she plunged boldly, no matter how coldly the 
rough river ran; — over the brink of it, picture it, 
think of it, dissolute Man! 18 lave in it, drink of 
it, then, if you can ! 

Take her 19 up | tenderly, lift her with care: 
fashioned so slenderly, young, and so fair ! Ere 
her limbs frigidly stiffen too rigidly, decently, 20 
kindly, smooth and compose them ; and her eyes — 
close them, staring so blindly ! Dreadfully star- 
ing, through muddy impurity; as when, with the 
daring last look of despairing, 21 fixed on futurity ! 
Perishingly gloomily; spurred by contumely, cold 
inhumanity, burning insanity, 22 into her rest. — 
Cross her 23 hands humbly, as if praying dumbly, 
over her breast; owning her weakness, her evil 
behavior — and leaving, with meekness, 24 her sins 
to her Saviour ! 



1 Point down in front and look sadly. 2 Action of lifting her with 
both hands. 3 Point down. 5 Repeat 2 . 5 Nod the head slowly. 6 Wave 
left hand to left — palm out. 7 Bend down — movement of wiping the lips 
of corpse. 8 No. 5 arm plate — look to right and left. 9 Cross hands on 
breast. 10 Slowly drop both hands as in No. 3 arm plate. " No. 5 arm 
plate. 12 Point upward. 13 Point to front. 14 Cross hands on breast — 
shiver and step back. 15 Place both hands on temples. 16 Wave hands 
downward in front. 17 Downward plunging movement of right hand. 
18 No. 2 arm plate. 19 Repeat 2 . 20 Bend down — move the hand as if 
composing the limbs of the dead. 21 Step forward — point up. 22 Clasp 
head with hands. 23 Cross your hands in front — fingers pointing down- 
ward. 24 Look up — use No. 4 arm plate. 



88 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



USE 

MEDIUM 
TONE. 



MEDIUM 
TIME. 



32-THE LAST MINSTREL. 

Sir Walter Scott. 

The way was long/ the wind was cold, the 
Minstrel was infirm and old; 2 his withered cheek 
and tresses gray and seemed | to have known a bet- 
ter day: the harp, his sole remaining joy, was 
carried by an orphan boy : the last of all the bards 
was he, who sung of Border chivalry. For, well-a- 
day ! 3 their date was fled, his tuneful brethren all 
were dead; and he, neglected and oppressed, 
wished to be with them, and at rest ! No more, 
on prancing 4 palfrey borne, he carolled, light as 
lark at morn; no longer courted and caressed, 5 
high-placed in hall, a welcome guest, he poured, 
to lord and lady gay, the unpremeditated lay; 
old times were changed — old manners gone — a G 
stranger filled the Stuart's throne. The bigots 
of the iron time had called his harmless art 7 — a 
crime: a wandering harper, scorned and poor, he 
begged his bread from door to door; and tuned, 
to please a peasant's ear, the harp, 8 a king had 
loved to hear ! 

He passed, where Newark's stately tower | looks 
out 9 from Yarrow's birchen bower: the Minstrel 
gazed with wishful eye — no humbler resting-place 
was nigh. With hesitating step, at last, the em- 
battled portal-ar^h he passed; 10 whose ponderous 
grate and massy bar had oft rolled back the tide 
of war, but never closed the iron door against the 
desolate and poor. The Duchess 11 marked his 
weary pace, his timid mien, and reverend face; 
and bade her page the menials tell that they should 
tend the old man well : — for she | had known ad- 
versity, 12 though born in such a high degree; in 
pride of power, in beauty's bloom, had wept o'er 
Monmouth's bloody tomb. 

When kindness had his wants supplied, and the 
old man was gratified, began to rise his minstrel 
pride; and he began to talk, 13 anon, of good Earl 
Francis, dead and gone; and of Earl Walter 14 — 



THE LAST MINSTREL. 



89 



ATTEND 
TO THE 

PAUSES. 



INCREASED 
FORCE. 



rest him, God ! — a braver j ne'er to battle rode : 
and how full many a tale he knew of the old war- 
riors of Buccleugh ; and, would the noble 15 Duchess 
deign to listen to an old man's strain, though 
stiff his hand, his voice though weak, he thought, 
even yet, — the sooth to speak, — that, if she loved 
the harp to hear, he could make music to her ear. 

The humble boon Was soon obtained; the aged 
Minstrel 16 audience gained; but when he reached 
the room of state, where she 17 with all her ladies 
sat, perchance he wished his doom denied; for, 
when to tune his harp he tried, 18 his trembling 
hand had lost the ease which marks security to 
please; and scenes, long past, of joy and pain, 
came wildering 19 o'er his aged brain; — he tried to 
tune his harp, in vain. 

Amid the strings 20 his fingers strayed, and an 
uncertain warbling made ; and, oft, he 21 shook his 
hoard head. But, | when he caught the measure 
wild, the old man raised 22 his face, and smiled ; and 
lighted up his faded eye, with all a poet's ecstacy! 
In varying cadence, soft or strong, he swept 23 the 
sounding chords along: the present scene, the 
future lot, his toils, his wants, were all forgot; 
cold diffidence, and age's frost, in the full tide of 
soul were lost; each blank in faithless memory's 
void, the poet's 24 glowing thought supplied; and, 
while his harp responsive rung, 'twas thus the 
latest Minstrel sung: 



THE PATRIOT S SON"G. 



RATHER 
LOUD. 



"Breathes there the man, with soul 27 so dead, 
who never to himself hath said, This 28 is my own, 
my native land! — 29 whose heart hath ne'er within 
him burned, as home his footsteps he hath turned 
from wandering on a foreign strand? If such 
there breathe, 30 go — mark him well; for him, | no 
minstrel-raptures swell: high 31 though his titles, 
proud his name, boundless 32 his wealth, as wish 
can claim ; despite those titles, power and pelf, the 



90 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUD. 



wretch, concentred all in 33 self, living, shall for- 
feit fair renown, and, donbly dying, shall go 
down 34 to the vile dust from whence he sprung, 35 
unwept, unhonored, and unsung!" 



1 No. 1 arm plate. 2 Touch cheek and hair. 3 Bend head — wave right 
hand to right. 4 No. 8 arm plate — then raise the arm. 5 Point upward 
in front. 6 No. 6 arm plate. 7 Clinch right hand as in No. 8 hand plate. 
8 No. 7 hand plate. 9 Wave index finger from side to side in front. 
10 Both hands together in front of face — then separate them. u Put out 
right hand — then bring it to breast — bow the head. 12 Shake head — 
hands clasped downward. 13 No. 1 hand plate — then point downward. 
14 No. 10 band plate — look up. 15 Bend low — hand on heart. 16 Both hands 
extended — look and turn to right and left. 17 Repeat the same. 18 Let the 
hands tremble. 19 Place opened hand on forehead. 20 Hands extended — 
fingers apart — act of touching the strings of harp. 21 Shake the head. 
22 Throw head well back and smile. 23 Quick movement of fingers — play- 
ing harp. 24 Touch forehead. 27 Look up — place right hand to breast. 
28 Both hands extended — view entire audience. 29 Touch breast. 30 Ad- 
vance to front two steps — use No. 7 hand plate. 31 Point up. 32 No. 5 
arm plate. 33 Hand on breast — bend head slightly. 3 * Step backward — 
point downward. 35 No. 1 hand plate — drop the hand on last word. 



SLOW 
TIME. 



VOICE 
SOLEMN. 



OROTUND. 



33-THE SOLDIER'S FUNERAL. 

Mrs. Maclean (L. E. L.). 
The muffled drum | 1 rolled on the air, 
2 Warriors | with stately step were there; 
3 0n every arm | was the black crape bound, 
4 Every cacrbine | was turned to the ground : 

^Solemn the sound of their measured tread, 
6 As silent and slow | they followed the dead. 
The riderless horse was led in the rear, 
There were while plumes waving over the 7 bier, 

8 Helmet and sword were laid on the pall, 
For it was a Soldier s funeral. 
9 That soldier had stood on the battle-plain, 
Where every step was over the slain : 
But the brand and the ball had passed him by, 

10 And he came to his native land — to die! 
'Twas hard to come to that native land, 
And not clasp 11 one familiar hand! 
? Twas hard to be numbered amid 12 the dead, 
Or I ere he could hear his welcome said ! 



EXCELSIOR. 



91 



PATHETIC. 



SLOW. 



But 'twas something to see its 13 cliffs | once 
more, 
14 And to lay his bones on his own loved shore; 
To think that the friends of his youth | might 



weep 15 
O'er the green grass turf of the soldier's sleep. 

The bugles ceased their wailing sound 
As the coffin | was 16 lowered into the ground ; 
17 A volley was fired, a blessing said, 

One moment's pause — and they 18 left tin 
dead! — 
19 — I saw a poor and aged man, 

His step was feeble, his lip was wan; 
20 He knelt him down on the new-raised mound, 
His face was bowed | to the cold 21 damp ground : 
22 He raised his head, his tears were done, — 
The father | had prayed 23 o'er his only son! 



1 Movement of drumming. 2 No. 1 hand plate. 3 Touch the arm. 
4 Touch left side of body — left hand hanging — hand closed. 5 Arm and 
hand out straight — palm down. 6 Keep gesture, but move it slowly to the 
right. 7 Point in front. 8 Same gesture. 9 Same gesture. 10 Arm falling 
as in No. 3 arm plate. X1 Clasp both hands and shake them. 12 Point 
down. 13 Point upward. 14 Both hands pointing to ground — palm out. 
15 Gently touch the eye. 16 Hand in front — fingers drooping — gradually 
lower them. 17 As if holding gun in position of firing. 1S Turn sorrow- 
fully to left three steps. I 9 Point with left hand. 20 Point down. 21 Same 
22 Slowly throw head well back — hands crossed over breast. 23 Keep the 
same picture. 



BRISK, 
LIGHT 
TONE. 



34- EXCELSIOR. 

Henry W. Longfellow. 

The shades of night were 1 falling fast, 
As | through an Alpine village, passed 2 
A youth, who bore, 'mid snow and ice 
3 A banner | with the strange device, 

<e Excelsior !" 

4 His brow was sad ; his eye 5 beneath 
Flashed like a falchion from its sheath; 



92 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

And like a silver clarion rung 6 
The accents of that unknown tongue, 
"Excelsior!" 

natural. In na PPy homes he saw the light 7 

Of household fires gleam warm and bright _ 
8 Above, the spectral glaciers shone; 
And from his lips 9 escaped a groan, 

"Excelsior!" 



LOUD. 



10 "Try not the pass" the old man said; 
"Dark lowers the tempest overhead; 
The roaring torrent is deep and wide !" 
And loud that clarion voice replied/ 1 

"Excelsior!" 



NOT SO 
LOUD. 



"Oh, stay/ 512 the maiden said, "and rest 
Thy weary head upon this breast V 
13 A tear stood in his bright blue eye ; 
But still | he answered with a sigh/ 4 

"Excelsior!" 



"Beware 15 the pine-tree's withered branch ! 
Beware the awful avalanche I" 
This was the peasant's last good-night ; 
A voice replied/ 6 far up the height, 

"Excelsior!" 



QUIET, 



At break of day, as, heavenward/ 7 
The pious monks of Saint Bernard 
Uttered the oft-repeated prayer, 
A voice cried through the startled air 18 

"Excelsior!" 

A traveller, by the faithful hound, 
19 Half-buried in the snow was found; 
Still grasping in his hand of ice, 20 
The banner with the strange device, 

"Excelsior!" 



THE GLUTTONOUS DUCK. 



93 



There in the twilight 21 cold and gray, 
Lifeless, but beautiful, he lay; 
And from the sky, 22 serene and far, 
A voice fell, like a falling star, 23 

"Excelsior!" 



1 Describe semi-circle downward with both hands. 2 Point to front. 
3 Right hand up — hand closed as if grasping pole. i Touch the brow. 
5 Touch eye. 6 Wave hand from mouth upward. T Point to left. 8 Point 
upward to left. 9 Send hand from mouth outward. 10 Shake the finger 
warningly. 1X Wave right hand high in air. 12 Bend and step forward- 
both hands extended pleadingly. 13 Point to eye. 14 Hand to breast — sigh. 
15 Shake finger warningly. 1U Advance — look and point upward. 17 Look 
up — hands together in prayer. 18 Place hand behind ear — assume a lis- 
tening attitude. 19 Ptfint downward. 20 Right hand extended and clinched. 
21 Both hands extended downward. 22 Point and look upward. 23 Wave 
right hand. 



LIGHT AND 
QUICK. 



35-THE GLUTTONOUS DUCK. 

Miss Taylor. 

A duck | once |had got such a habit of 1 stuffing, 
That all the day long | she was 2 panting and 

puffing; 
And, by every creature | who | did her great 

crop see, 
Was thought to be galloping fast | for the 

dropsy. 3 



One day, after eating a plentiful dinner, — 
4 With full twice as much as there should | have 

been in her, — 
Whilst up to the eyes in a gutter a-roking, 
She was greatly alarmed | by the symptoms oP 
choking! 



6 There was an old fellow, much famed for dis- 
cerning, 

A Drake — who had taken a liking for learning ; 

And high in respect with his feathery friends, 

Was called Doctor Drake: 7 for this doctor she 
sends. 



94 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

8 In a hole in the dunghill | was Dr. Drake's shop, 
Where he kept a few simples for curing the 

crop ; — 
9 Small pebbles, and two or three different 

gravels, 
With certain famed plants | he had found in his 

travels. 



DELICATE 
TONE. 



10 "Dear Sir," said the duck with a delicate 
quack, — 
Just turning a little way round on her back, 
And leaning her head on a stone in the yard, 

11 My case, Dr. Drake, is exceedingly hard. 



12 "I feel so distended with wind, and oppressed, — 
So squeamish | and faint, such a load at my 

chest : 13 
And day after day, it certainly is hard 
To suffer with patience these pains in my 14 

gizzard I" 



SPEAK 

DELIBER- 
ATELY. 



"Give me leave" — said the Doctor, with medi- 
cal look, 
15 As her cold flabby paw in his fingers he took; 

"By the feel of your pulse, your complaint, I am 
thinking, 

Must surely be owing | to eating and drinking !" 



1G "Oh no, Sir ! believe me !" the lady replied, 
Quite alarmed for her stomach, as well as her 

pride ; 
"I am sure, it arises from nothing I eat, 17 
But I rather suspect I got wet in my feet. 18 



VERT 
SLOWLY. 



"I have only been picking a bit in the gutter, 
Where cook had been pouring some cold melted 
butter, 
19 A slice of green cabbage, some scraps of old 

meat — 
20 Just a trifle or two, that I thought I could eat." 



THE GLUTTONOUS DUCK. 95 

The doctor was then to his business proceeding, 
21 By gentle emetics, a blister, and bleeding; 
When, all on a sudden, she rolled on her 

side, — 22 
Gave a horrible 23 "quack" and a struggle,! — 

and died. 2 * 

Her remains | were interred in a neighboring 

swamp, 25 
By her friends, — with a great deal of funeral 
pomp ; 26 
27 And I've heard this inscription her tombstone 
was put on — 
mock 28 "Here lies Mrs. Duck, the notorious glutton !" 

heroic. ^ nc [ a n ^h e yo Un g ducklings are brought by 

their friends 
To learn the disgrace in which gluttony ends ! 



1 Bring hands to mouth: 2 Put hands on chest — breathe in and out 
quickly, with apparent effort. 3 Put elbows out — hands in front — indi- 
cating stoutness. 4 Place arm out — finger tips meeting. 5 Right hand 
on throat — open the mouth — nodding head. 6 Turn to right — make ges- 
ture No. 12 hand plate. 7 Put out both hands. 8 Point downward. 9 Use 
right and left hand alternately till period. 10 Place hand on chest and 
cough. u Same position — speak slowly and as if ill. 12 Sand both hands 
from stomach outward — then drop them. 1S Clasp hands and rock body 
backward and forward. 14 Pressing both hands to sides — continue rock- 
ing body. 15 Put out right hand and close it as if holding patient's hand. 
16 Still rocking — hands clasped. 17 Shake head. 18 Raise one foot. 19 Both 
hands out. 20 Place thumb and finger together. 21 No. 1 hand plate. 22 Swing 
Doth hands over to left side — bend that way. 23 Throw forward both hands 
aL> make a noise like a duck. 24 Drop hands — bend head downward. 
25 Dint to left. 26 Both hands out — bow head. 27 No. 7 hand plate. 
28 ?ace inscription with finger. 29 Bring both hands to stomach. 



96 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



QUIETLY. 



WITH FEEL- 
ING. 



36-THE EXILE OF ERIN. 

T. Campbell. 

There came to the beach 1 a poor Exile of Erin, 
The dew on his thin robe was heavy and chill ; 
2 For his country he sighed, | when at twilight re- 
pairing 
To wander alone by the wind-beaten hill: 
3 But the day-star attracted his eye's sad devotion ; 
4 For it rose | o'er his own native isle of the ocean, 
Where once, in the fervor of youth's warm 
emotion, 
He sang | the bold anthem of Erin go 
Bragh / 15 



6 "Sad is my fate!" — said the heart-broken 
stranger — 
"The wild deer and wolf to a 7 covert can flee ; 
8 But / have no refuge from famine and danger : 

A home and a country | remain not to me ! 9 
Never again, in the green sunny bowers 
Where my forefathers lived, shall I spend the 

sweet hours 
Or cover my harp with the wild-woven flowers, 
10 And strike to the numbers of Erin go Bragh ! 



EARNEST. 



PATHETIC. 



n "Erin ! | my country ! | Though sad and for- 
saken, 

12 In dreams I revisit thy sea-beaten shore ! 

But, alas! in a far, foreign land I awaken, 

13 And sigh for the friends that can meet me | 
no more! 
14 Oh, cruel Fate ! wilt thou never replace me 

In a mansion of peace, where no perils can chase 
me ! — 

15 They died to defend me — or live to deplore • 



THE EXILE OF ERIN. 



97 



SLOW. 



"Where is my cabin-door, fast by the wild 
wood ? 16 
Sisters and sire, did ye weep for its fall? 
Where is the mother that looked on my child- 
hood? 
And where is the bosom 17 -friend, | dearer than 
all? 
18 Ah! my sad soul, long abandoned by pleasure! 
Why didst thou dote on a fast-fading treas- 
ure? 
19 Tears, like the rain-drops, may fall without 
measure 
But rapture 20 and beauty they cannot recall ! 



LOUDER. 



LOUD. 



"Yet — all its sad recollections suppressing — 
21 One dying wish my lone bosom shall draw : — 
22 Erin ! an exile bequeaths thee — his blessing ! 

Land of my grandfathers! — Erin go Bragh! 
23 Buried and cold, when my heart stills her mo- 
tion, 
2 *Green be thy fields, sweetest isle of the ocean ! 
And thy harp-striking bards sing aloud, with 

devotion, 
25 Erin Mavourneen! Erin go Bragh!" 



1 No. 8 arm plate. * Place hand on breast. a Point upward — more 
to right. 4 Raise hand still higher. 5 Both hands to front — head erect. 
6 Clasp hands — slowly shake the head. 7 Point to left. 8 Left hand to 
breast — speak slowly in sympathetic tone. 8 No. 14 hand plate. 10 Move- 
ment of touching strings of the harp. 1X Advance — both hands extended. 
12 Touch right side of forehead. 13 Both hands to breast — slowly shake 
head. 14 Clasp hands — advance with earnestness of manner. 15 Point 
downward — then raise the hand. 16 Turn to left— left hand No. 1 hand 
plate. 17 No. 14 hand plate. 18 Walk to right whilst speaking — hand on 
breast. 19 Fingers of both hands to eyes. 20 No. 6 arm plate. 21 Clasp 
hands — advance. 22 Throw out both hands — head erect. 23 Hand over 
heart. 24 No. 5 arm plate. " Elevate both hands — look up — very earnest. 



98 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



SYM- 
PATHY. 



37-THE SLAVE'S DREAM. 

H. W. Longfellow. 

Beside the ungathered rice 1 he lay, his sickle in 

his hand; 
2 His breast was bare, his matted hair was buried 

in the sand : 
Again, 3 in the mist and shadow of sleep, he saw 

his native land! 



MEDIUM 
TONE. 



Wide through the landscape of his dreams | the 

lordly Niger flowed; 4 
Beneath the palm-trees on the plain | once 

more | a king he strode, 5 
And heard the tinkling caravans descend the 

mountain-road. 



He saw once more his dark-eyed queen 6 among 

her children stand; 
7 They clasped his neck, they kissed his cheeks, 

they held him by the hand ! 
A tear burst from the sleeper's lids, 8 and fell | 

into the sand. 

And then at furious speed he rode along 

the Niger's bank; 
His bridle-reins were golden chains, and, with a 

martial clank, 
9 At each leap he could feel his scabbard of steel 

smiting his war-steed's flank. 



Before him, 10 like a blood-red flag, the bright 

flamingoes flew; 
From morn till night he followed their flight, 

o'er plains where the tamarind >grew, 
Till he saw the roofs 11 of Caffre huts, and the 

ocean rose to view. 



THE SLAVE'S DREAM. 99 

At night | he heard the lion roar, and the hyaena 
scream, 
^And the river-horse, as he crushed the reeds be- 
side some hidden stream; 

And it passed like a glorious roll of drums, 
through the triumph of 13 his dream. 

loud. 14 The forests, with their myriad tongues, shouted 15 

of Liberty; 
And the Blast of the Desert cried aloud, with a 
voice so wild and free, 
s That he 16 started in his sleep, and smiled | at 
their tempestuous glee. 

He did not feel the driver's whip, nor the burn- 
ing heat of day; 
17 For Death had illumined the Land of Sleep, and 
his lifeless body lay 
A worn-out fetter, that the 18 soul had broken 
and thrown away ! 



1 Point downward to right. 2 Touch breast with both hands, then 
wave them outward. 3 Touch right temple. 4 Move the hand, which should 
be down center in front, to right. 5 Stand erect majestically. G No. 1 
hand plate. 7 Cross hands at neck. 8 Touch right eye, then point down- 
ward. 9 Touch left hip with left hand. 10 Point in front — wave hand to 
right. J1 Point right. 12 Point down. 13 Touch forehead. 14 Both hands, 
No. 5 arm plate — look around. 15 Advance — wave right hand. 18 Rub 
eyes — throw hands outward — turn head from side to side — move forward. 
17 Point downward. 18 Opened hand on breast — then wave it to right. 

LoFC. 



100 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



NARRA- 
TIVE 
STYLE. 



ROUGH 
VOICE. 



LOUD. 



38-THE WRECK OF THE HESPERUS. 

H. W. Longfellow. 

*It was the schooner Hesperus, that sailed the 
wintry sea; 
And the skipper | had taken his little 2 daughter 

to bear him company. 
3 Blue were her eyes as the fairy-flax, her cheeks 

like the dawn of day, 
And her bosom white as the hawthorn buds that 

ope in the month of May. 
The skipper | he 4 stood beside the helm, his pipe 

in his mouth, 
And he watched how the veering flaw did blow 

the smoke, now west, now south. 

Then | up and spake an old sailor, had sailed the 

Spanish Main : 

5 "7 pray thee, put into yonder port, for I fear a 

hurricane: 

Last night, the moon had 6 a golden ring, and 

to-night ! no 1 moon we see V 9 
The skipper he blew a whiff 8 from his pipe, and 

a scornful laugh laughed he. 
Colder and louder blew the wind, a gale from the 
northeast : 9 
10 The snow fell hissing in the brine, and the bil- 
lows frothed like yeast. 
n Down came the storm, and smote amain the 
vessel in its strength ; 
She shuddered and paused, like a frighted steel, 
then 12 leaped her cable's length. 
13 "Come hither ! come hither ! my little daughter, 
and do not tremble so; 
For / can weather the roughest gale, that ever 
wind did blow/' 
14 He wrapped her in his seaman's coat against the 

stinging blast; 
15 He cut a rope from a broken spar, and bound 
her to the mast. 



THE WRECK OF THE HESPERUS. 



101 



PATHETIC. 



STRONG. 



"0 father! I hear the church-bell ring; oh, say, 

what may it be?" 
16 "'Tis a fog.^eii on a rock-bound coast !" — and 

he steered for the open sea. 
"0 father ! I hear the sound of guns; oh, say, 

what may it be ?" 
17 "Some ship in distress, that cannot live in such 

an angry sea I" 
"0 father! I see a gleaming light; oh, say, 

what may it be V 
But | the father answered never a word, a 18 

frozen corpse was he. 
Lashed to the helm, all stiff and stark, with 

his face turned to the skies, 
The lantern gleamed through the gleaming snow 

on his fixed and glassy eyes. 
Then the maiden ] clasped 19 her hands, and 

prayed that saved she might be; 
And she thought of Christ, who stilled the wave 

on the Lake of Galilee. 
And fast through the midnight dark and drear, 

through the whistling sleet and snow, 
Like a sheeted ghost, the vessel 20 swept towards 

the reef of Norman's Woe. 
And ever, the fitful gusts between, a sound came 

from the land; 
It was the sound of the trampling surf on the 

rocks and the hard sea-sand. 
The breakers | were right beneath 21 her bows, 

she drifted a dreary wreck, 
22 And a whooping billow swept the crew like icicles 

from her deck. 
She struck where the white and fleecy waves 

looked soft as carded wool; 
But the cruel rocks, they gored her side | like the 

horns of an angry bull. 
23 Her rattling shrouds, all sheathed in ice, with 

the masts, went by the board; 
Like a vessel of glass, she stove and 24 sank: 

Ho ! 25 Ho ! the breakers roared ! 



102 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

26 At daybreak, on the bleak sea-beach a fisherman 
stood aghast, 
quietly. rp gee ^ f orm f a ma id e n fair | lashed close 

to a drifting mast. 
The salt sea was frozen on her breast, the salt 

tears in her eyes; 
And he saw her hair, like the brown sea-weed, 
on the billows fall and rise. 
27 Such | was the wreck of the Hesperus, in the 
midnight and the snow ! 
Christ save us all from a death like this, on the 
reef of Norman's Woe ! 



1 No. 8 arm plate. 2 Put hand down and out hoi izontally, indicating 
girl's height. 3 Touch eye. * Carelessly point left. 5 Left hand on hip — 
right hand pointing to front. 6 Point up — describe ring with finger. 
7 Drop hand. 8 Action of taking pipe from mouth and puffing smoke. 

9 Point outward. 10 Bring opened fingers gradually downward — palms 
down. n Repeat same action, but much quicker. 12 Swing quickly right 
arm out and step to right — bending. 13 Beckoning her with finger. 14 Ac- 
tion of wrapping coat around her. 15 Action of cutting rope. 16 Point. 
17 No. 1 hand plate. 18 Point to front. 19 Clasp hands. 20 Sweep hand 
from breast to right. 21 Point and turn to right. 22 Wave both hands 
outward energetically — advance. 23 Point upward and shake the hand. 
24 Point down. 25 Place opened hand to side of mouth — trumpet fashion. 

10 No. 5 arm plate, both hands. 27 No. 1 hand plate. 



39-THE LAST OF THE RED MEN. 

W. C. Bryant. 
1 The sun's last ray was glowing fair, on crag, 

m at£ r ~ and tree > and flood ; 

And fell in mellow softness | where the lonely 2 
Indian stood. 
3 Beneath his eye, in living gold, the broad Pacific 

lay; 

Unruffled there, a skiff might hold its bright 
and fearless way. 

4 Far, far behind him, mountains blue in shadowy 
distance melt; 
And far beyond 5 the dark woods grew, where 

his forefathers dwelt! 
No breathing sound was in the air, as, leaning 
on his bow, 6 
7 A lone and weary pilgrim there, he murmured 
stern and low: 



THE LAST OP THE RED MEN. 



103 



8 "Far by Ohio's mighty river, bright star, I've 
worship'd thee ! 
My native stream — its bosom never the Eed Man 

more may see; 
The Pale-face rears his wigwam | where our 
Indian hunters roved; 
9 His hatchet fells the forest fair, our Indian 
maidens loved: 



STRONG- 
ER TONE. 



10 "A thousand warriors bore in war the token of 

my sires: 
n On all the hills were seen afar their blazing 

council-fires ! 
The foeman heard their war-whoop shrill, and 

held his 12 breath in fear; 
13 And in the wood, and on the hill, their arrows 

pierced the deer. 



8ADLY. 



14 "Where are they now? — the stranger's tread is 

on their silent place ! 
15 Yon fading light on me is shed, the last | of all | 

my race ! 
Where are they now? — in Summer's light, go 1G 

seek the Winter's snow ! 
17 Forgotten is our name and might, and broken 

is our bow. 



VERY 
LOUD. 



18 "The White Man came; his bayonets gleam 

where Sachems held their sway; 
And, like the shadow of a dream, our tribe 19 

has passed away ! 
20 Curs'd be their race ! to faith untrue ! false 

heart! deceitful tongue! — 
21 Hear me, evil Manitou — revenge the Indian s 

wrong ! 



22 "I hear him in the hollow moan of the dark 
heaving sea ; 
And whispers murmur in the tone, of vengeance 
yet to be! 



104 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

\Vhat if no stone shall mark the spot | where J 

lonely sleep the brave? 
Their mighty arm 23 is unforgot, their glory has 

no grave! 

24 "But to our foes we leave a shame! — disgrace 
can never die; 
Their sons shall blush to hear a name still 
blackened with a lie ! 
25 So be it ever to their race, — false friends, and 
bitter cares! 
VE T I arin ^^ f ra ud they have the Indian's place; the 

Indian s curse be 27 theirs V 



1 Point to left and gradually drop the hand. 2 Point in front. 3 Spread 
out both hands — palms down. * Point backward over left shoulder with 
left thumb. 5 Point and turn to left backward. 6 Bend forward and 
place arm in a leaning position. 7 No. 1 hand plate. 8 Left hand out to 
left. 9 Bring closed hand quickly down in front — action of chopping. 
10 No. 7 arm plate. X1 Point left upward. 12 Right hand grasping neck. 
13 Point left, then upward to left. 14 Advance two steps — use No. 5 arm 
plate — look around. 15 Point left — then touch breast. 16 No. 8 arm plate. 
17 Hand on breast — shake the head slowly. 18 No. 8 arm plate. 19 Swing 
the arm to right and drop it. 20 Advance — shake right hand up in the 
air. 21 Both hands clasped and up — look up. 22 Point, look, and bend 
downward. 23 Shake the head sadly. 2 * Quickly swing arm to left. 
25 Advance — make No. 8 hand plate — high over head. 26 Bring fist down 
strongly. 27 Advance — shake both hands over head — very excited — every 
part of the body in agitation. 



THE POLISH EXILES. 



105 



DESCRIP- 
TIVE. 



40-THE POLISH EXILES. 



Miss Pardoe. 



1 Forth went they from their fatherland, a fallen 
and fettered race, 
To find, 2 upon a distant strand, their dark abid- 
ing place. 
Forth went they: 3 — not as freemen go, with 
firm and fearless eye; 
4 But with the bowed mien of woe, as men go 
forth to die. 



5 The aged | in their silver hair, the young | in" 5 

manhood's might, 
7 The mother with her infant care, the child in 

wild affright; 
Forth went they all 8 a pallid band! — with many 

an anguished start : 
The chains lay heavy on their hand, but 9 heavier 

on their heart! 
No sounds | disturbed the desert air but those 

of bitter woe; 
10 Save when, at times, re-echoed there the curses 

of the foe — 
11 When | hark! another cry pealed out — a cry of 

idiot glee; 
12 Answered, and heightened, by the shout of the 

fierce soldiery ! 



LOUD. 



'Twas childhood's voice ! but, ah ! 13 — how wild, 
how demon-like its swell ! — 
14 The mother | shrieked, | to hear her child give 
forth that soul-fraught yell ! 

And fathers 15 wrung their fettered hands be- 
neath their maddening woe, 

While shouted out their infant bands shrill 
chorus to the foe! 



106 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

16 And curses deep and low were said, whose mur- 
murs reached to 17 Heaven; 
intense. 18 Thick sighs were heaved 19 — hot tears were shed, 
and woman-hearts were riven; 
As heedless of their present woes, the children 20 

onward trod, 
And sang — and their young voices rose 21 a venge- 
ance-cry to God! 



1 No. 8 arm plate. 2 Point right. 3 Hand on breast — elevate head. 
4 Slightly bend the head. 5 Touch the hair. 8 Stand very erect. 7 No. 14 
hand plate. 8 Falling of arms as in No. 3 arm plate. 9 Hand on heart. 
10 No. 5 hand plate. ll Listening attitude to left — hand behind the ear. 
12 Point to left. 13 Clasp hands — move head. " Advance — throw up 
hands wildly. 15 Wring the hands. 16 No. 4 arm plate — shake the hand. 
17 Point upward. 18 Hand on breast and sigh. 19 Rub the cheek downward. 
80 Sweep the hand from breast outward. 21 Shake the fist over the head. 



41-THE MARINER'S DREAM. 



Dimond. 



natural. I n slumbers of midnight the Sailor-Boy lay ; 

1 His hammock swung loose | at the sport of the 
wind; 
But, watch-worn and weary, his cares flew away, 
And visions of happiness 2 danced o'er his mind. 

He dreamed of his home, of his dear native 

bowers, 
And pleasures that waited on life's merry morn, 
^While Memory stood sideways, half covered 

with flowers, 
4 And restored every rose, but concealed every 
thorn. 



BATHER 
QUICK. 



5 Then Fancy her magical pinions spread wide, 
And bade the young dreamer in ecstacy rise; 8 
Now far, far behind him the green waters glide, 
And the cot of his forefathers | blesses his eyes. 



THE MARINER' S DREAM. 



Wi 



QUICK. 



7 The jessamine | clambers in flower o'er the 

thatch, 
And the swallow chirps sweet | from her nest 

in the wall; 
All trembling with transport, he raises 8 the 

latch — 
And the voices of loved ones reply to his call ! 

9 A father bends o'er him with looks of delight ; 
His cheek is bedewed with 10 a mother s warm 

tear; 
And the lips of the boy in a love-kiss unite 
With the lips of the friends, whom his bosom 

holds dear. 

The heart 11 of the sleeper beats high in his 

breast, 
Joy quickens his pulse, all his hardships seem 

o'er; 
And the murmur of happiness steals through 

his rest — 
12 "0 Fate ! thou hast blessed me — I ask for no 

more." 



LOUD. 



Ah ! whence 13 is that flame which now glares in 

his eye? 
Ah ! what is that sound which now 14 bursts on 

his ear? 
1B 'Tis the lightning's red gleam, painting wrath 

on the sky ! 
"Pis the crashing of thunders, 16 the groan of the 

sphere ! 



INCREAS- 
ING 
LOUD- 
NESS. 



17 He springs from his hammock — he flies to the 
deck — 18 
Amazement confronts him with images dire ! 
Wild winds and mad waves drive the vessel a 
wreck — 
19 The masts | fly in splinters — the 20 shrouds are 
on fire! 



108 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

21 Like mountains the billows tremendously 

swell — 

In vain the lost wretch calls 22 on Mercy to save : 

Unseen hands of spirits are ringing his knell, 

23 And the death-angel | flaps his broad wings o'er 

the wave! 

sorrow- 24 0h, Sailor-Boy! Sailor-Boy! never again 

Shall home, love, or kindred, thy wishes repay; 
Unblessed and unhonored, down deep in 25 the 

main 
Full many a fathom, thy frame shall decay. 
26 No tomb shall e'er plead to Eemembrance for 
thee; 
But still the vast waters above thee shall roll, 
And the white foam of waves shall thy winding- 
sheet be — 
Oh, Sailor-Boy! Sailor-Boy! peace to thy soul! 



1 Wave hand in front. 2 Touch the forehead to the right. 3 Repeat 2 . 
4 No. 2 arm plate. 6 Touch eyebrows and gently throw hands forward. 
8 Elevate the hand from a downward position — turning palm out. 7 Point 
to the left — upward. 8 Action of raising the latch. s Bend down — hands 
clasped. 10 Touch the cheek. n Hand on heart. 12 Clasp the hands 
under chin. 13 Quick general movement of excitement — hand out. 14 Place 
hand behind ear. 15 Point and look up — put the left foot well back. 
10 Same as 15 . 17 Advance quickly, swing arm from chest outward. 18 Up- 
ward movement of right hand. 19 Point up. 20 Point up again. 21 Raise 
both arms as in No. 1 arm plate. " Hold clasped hands upward — look 
up. 2S Separate and drop the hands. 24 No. 7 hand plate — shake the 
finger. 25 Point down. 28 Still pointing down — keep position until finish. 



THE OLD CLOCK ON THE STAIRS. 



109 



NATURAL 
AND 
FLOW- 
IN a. 



EMPHA- 
SIZE 
ITALI- 
CIZED 
WORDS. 



IMPRESS- 
IVE. 



42-THE OLD CLOCK ON THE STAIRS. 

H. W. Longfellow. 

Somewhat back from the village street stands 1 
the old-fashioned country-seat: across its antique- 
portico tall poplar-trees their shadows throw, and 
irom its station in 2 the hall | an ancient time- 
piece says to all — z "For ever — never! never — for 
ever. Halfway up the stairs it" 4 stands, and 
points and beckons with its hands from its case 
of massive oak ; like a monk, who, under his cloak, 
crosses himself and sighs, alas ! with sorrowful 
voice to all who pass, — "For ever — never! never—- 
for ever!" 5 By day its voice is low and light; 
but in the silent dead of night, distinct as a pass- 
ing footstep's fall, it echoes 6 along the vacant 
hall, along the ceiling, along the floor, and seems 
to say, at each chamber-door, — "For ever — never! 
never — for ever!" Through days 7 of sorrow and 
of mirth, through days of death and days of birth, 
through every swift vicissitude of changeful time, 
unchanged it has stood; and as if, like God, it all 
things saw, it calmly repeats those words of awe, — 
s "For ever — never! never — for ever!" 

9 In that mansion used to be free-hearted Hos- 
pitality; his great fires up the chimney roared; 
the stranger feasted at his board; but, like the 
10 skeleton at the feast, that warning timepiece 
never ceased, — n "For ever — never! never — for 
ever!" There groups of merry children played, 
there youths and maidens dreaming strayed: 12 
precious hours! golden prime, and affluence 
of love and time ! Even as a miser counts 13 his 
gold, those hours the ancient timepiece told, — 
"For ever — never! never — for ever!" From that 
chamber, 14 clothed in white the bride came forth 
on her wedding night; there, in that silent room 
below, the dead 15 lay in his shroud of snow! and 
in the hush, that followed the prayer, was heard 
the old clock on the stair, — 1Q "For ever — never! 
never — for ever!" All are scattered now and 



110 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

fled, some are married, some are dead, and when I 
ask, with throbs of pain, 17 "Ah! when shall they 
all meet again?" as in the days long since gone 
by, the ancient timepiece makes reply, — 18 "For 
ever — never! never — for ever!" Never here, for 
ever there, where all parting, pain, and care, and 
death, and time, shall disappear, — for ever there, 
but never here ! The horologe of Eternity 19 
sayeth this incessantly, — "For ever — never! 

NEVER FOR EVER !" 



1 No. 8 arm plate. * Repeat *. 8 Imitate action of a pendulum by 
waving the hand with regular motion. * Point up. s No. 1 hand plate, 
6 Point up — then down. 7 Left hand, No. 4 hand piate. 8 Repeat 3 . 
' Extend both hands — walk forward. 10 Point in front, using index finger. 
11 Repeat 3 . " Clasp hands earnestly. 1S Bend head — imitate a person 
counting money. 14 Point to right. " Point down. 10 Repeat ». " Both 
hands, No. 5 arm plate. *• Repeat *. 19 Point upward. 



43-THE PROGRESS OF MADNESS. 

M. G. Lewis. 

fjOUD. 1 Stay, gaoler ! stay, and hear my woe ! she is not 

mad who kneels to thee; 
For what I am now too well I know, and what 
I was — and what should be! 
2 F11 rave no more in proud despair — my language 
shall be mild, though sad; 
But yet Fll firmly, 3 truly swear, I am not mad! 
I am not mad! 



PLEAD- 
ING. 



8UBDUED. 



4 My tyrant foes have forged the tale, which 

chains me in this dismal cell! 
My fate unknown my friends bewail — Oh! 5 

gaoler, haste that fate to tell! 
Oh ! haste my father's heart to cheer ; his heart 

at once 'twill grieve and glad, 
To know, though chained, a captive here, 6 I am 

not mad! I am not mad! 




THE PROGRESS OF MADNESS. 
(See page no.) 



THE PROGRESS OF MADNESS. 



Ill 



INCREASE 
THE 
TONE. 



7 He smiles in scorn — he 8 turns the key — he 9 quits 
the grate — I knelt in vain ! 
His glimmering lamp still, 10 still I see — n 'tis 
gone — and all is gloom again ! 
12 Cold, bitter cold! — no warmth, no light! Life, 
all thy comforts once I had ! 
Yet here I'm chained, this freezing night, al- 
though | not mad! no, no — not mad! 



'Tis sure some dream 13 — some vision vain! 

What ! I the child of rank and wealth ! 
Am I the wretch who 14 clanks this chain, bereft 

of freedom, friends and health? 
Ah ! while I dwell on blessings fled, which 

never more my heart must glad, | 
15 How aches my heart, how 16 burns my head ! 

but 'tis not mad ! it is not mad ! 



PATHET- 
IC. 



LOUD. 



17 Hast thou, my child, forgot ere this a parent's 

face, a parent's tongue? 
I'll ne'er forget thy parting kiss, nor round my 

neck how fast you clung! 
Nor how with me you sued to stay, nor how that 

suit my foes forbade; 
Nor how — 18 I'll drive such thoughts away — 

they'll make me mad; they'll make me 

mad! 



quibt. 19 Thy rosy lips, how sweet they smiled; thy mild 

blue eyes, how bright they shone ! 
None ever saw a lovelier child! and art thou 

now for ever gone? 
And must I never see thee more, my pretty, 
pretty, pretty lad? 
20 I will be free ! — Unbar the door ! I am not mad ! 
I am not mad ! 



Oh, hark! 21 what mean those yells and cries? 

His chain some furious madman breaks ! 
He comes ! I see his glaring eyes ! 22 now, now, 

my dungeon-grate he shakes! 



112 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

23 Help! help! | 24 He's gone! — fearful woe, such 
screams to hear, such sights to see ! 

25 My brain, my brain ! I know, I know I am no t 
mad — but soon shall be ! — 

Yes, soon ! for lo ! now, 26 while I speak, mark 

HOW YON DEMON'S EYEBALLS GLARE ! 

very 27 He sees me! — now, with dreadful shriek, he 28 

whirls a serpent high in air! 
Horror! the reptile strikes his tooth 29 deep in 
my heart, so crushed and sad ! 
30 Ay, laugh, ye fiends ! I feel the truth ! your task 
is done — 31 I'm mad! I'm mad! 



1 Kneel and extend both hands. 2 Rubbing side of face downward. 
3 Clasp the hands on breast. * No. 1 hand plate. 5 Clasp hands — extend 
them. 6 Hand on breast— shake the head. 7 Point. 8 Action of turning key 
in door. 9 Stand up. 10 Walk three or four steps — looking intently — point- 
ing. u Drop hand — dejection. 12 Cross hands over breast — shiver. 13 Clasp 
the head with the hand — looking about wildly. 14 Raise arms up and 
down. 15 Hand on heart. 16 Cover forehead with hand. 17 Kneel down — 
right hand extended downward. 18 Throw hand violently from head. 
19 Still kneeling — clasp hands — look down. 20 Jump up — rush three steps — 
wave hands wildly over head. 21 Attitude of listening. 22 Step back — 
both hands as in No. 6 hand plate. " Throw hands up wildly and fall 
on stage. 24 Slowly assume a crouching position — hand grasping throat. 
25 Both hands holding sides of head. 26 Stand — point and shake fingers. 
27 Shrink back — all the fingers pointing to front. 28 Wave hand in circular 
movement around head. 29 Hand on heart. 30 Take two steps back — shak- 
ing both hands violently. ai Look up — both hands clasping head. 



THE COLLIERS DYING CHILD. 



113 



44-THE COLLIER'S DYING CHILD. 



CONVER- 
SATIONAL. 



Farmer. 



The cottage was a thatched one/ its outside old 
and mean; 
^Yet everything within the cot was wondrous 
neat and clean: 
The night was dark and stormy, — the wind was 

blowing wild; — 
A patient mother | sat beside 3 the death-bed of 

her child, — 
A little worn-out creature — his once bright 
eyes | grown dim: 
4 He was a Collier's only child — they called him 
"Little Jim." 



SLOW. 



And oh ! to see 5 the briny tears fast flowing 

down her cheek, 
As she offered up a prayer in thought; — she 

was afraid to speak, 6 
Lest she might waken one she loved far dearer 

than her life; 
7 For she had all a mother's heart, that wretched 

Collier's wife. 
With hands uplifted, see, 8 she kneels beside the 

sufferer's bed, 
9 And prays that God would spare her boy, and 

take herself instead: 
She gets her answer from the child — soft fall 

these words from him — 
10 "Mother, the angels do so smile, and beckon 

Little Jim! 



"I have no pain, dear mother, now; but, oh! 11 

I am so dry: 
Just moisten poor Jim's lips once more; and, 

mother, do not cry !" 



114 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

12 With gentle, trembling haste, she held a tea- 
cup to his lips — 
He smiled to thank her — then he took three 
little tiny sips. 
13 "Tell father, when he comes from work, I said 
'good-night!' to him; 
clow. And, mother, now I'll go to sleep." . . . 

14 Alas! poor Little Jim! 
low. She saw that he was dying! The child she 

loved so dear, 
Had uttered the last words | she'd ever hope to 
hear. 

15 The cottage door is opened — the Collier's step 
is heard ; 
The father and the mother meet, 16 but neither 
speak a word: 
17 He felt that all was over — he knew the child 
was dead ! 
He took the candle 18 in his hand, and stood be- 
side the bed : 
19 His quivering lip j gave token of the grief he'd 
fain conceal ; 
And see, the mother joins him ! the stricken 
couple kneel; 
20 With hearts bowed down by sorrow they humbly 
ask, of Him, 21 
In Heaven | once more to meet | their own 
poor "Little Jim!" 



1 Point in front. * Both hands open as in No. 5 arm plate. s Point 
downward. 4 Same as 3 . 5 Rub the cheek with fingers. 6 Hand on breast — 
sThake the head slowly. 7 Send right hand to heart. 8 Point down. 9 Hands 
together in prayer. 10 Hands clasped under chin — look up — speak softly. 
11 'light hand on throat. 12 Join thumb and first finger as holding teacup. 
13 Ciasp hands. " Drop hands — droop the head. 15 Separate the hands in 
f ron t — palms up. 16 No. 11 hand plate. 17 Hand to breast — bend the 
head. 18 Same movement as 12 . 19 Touch the lips. 20 Clasp hands — bow 
the head. 21 Look upward — hands still clasped. 



THE RAVEN. 



115 



LOW. 



SURPRISE. 



45-THE RAVEN. 

Edgar Allan Foe. 
1 0nce | upon a midnight dreary, while I pon- 
dered weak and weary, 
Over many a quaint and curious volume of 

forgotten lore — 
While I nodded, nearly napping, 2 suddenly | 

there came a tapping, 
As of some one gently 3 rapping, rapping at my 

chamber door. 
" ? Tis some visitor," I muttered, "tapping at 
my chamber door — 

Only this, and nothing more." 



REMINIS- 
CENT. 



Ah, distinctly I remember it was in the bleak- 
December, 
And each separate dying ember 4 wrought its 
ghost upon the floor. 
^Eagerly I wished the morrow; — vainly I had 

sought to borrow 
6 From my books surcease of sorrow — sorrow for 
the lost Lenore — 
For the rare and radiant maiden whom the 
angels name Lenore — 

Nameless here for evermore. 



QUICK. 



7 And the silken sad uncertain rustling of each 

purple curtain 
8 Thrilled me — filled me with fantastic terrors 
never felt before; 
So that now, to still the beating of my heart, 9 

I stood repeating, 
" 'Tis some visitor entreating entrance 10 at my 

chamber door — 
Some late visitor entreating entrance at my 
chamber door; 

This it is, and nothing more." 



116 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUDER. 



Presently my soul grew stronger; hesitating 
then no longer, 

"Sir," said I, "or Madam, truly, your forgive- 
ness I implore; 

But the fact is 1 was 12 napping, and so gently 
you came rapping, 13 

And so faintly you came tapping, tapping ar 
my chamber door, 

That I scarce was sure I heard you" — here I 
opened wide the door; — 14 

15 Darkness there, and nothing more. 



MONOTONE. 



Deep into that darkness peering, long I stood 

there wondering, fearing, 
Doubting; dreaming dreams no mortal ever 

dared to dream before, 
But the silence was unbroken, and the stillness 

gave no token, 
And the only word there spoken, was the 

whispered word "Lenore !" 
This I whispered, and an echo murmured back 

the word, "Lenore !" — 

16 Merely this, and nothing more. 



quick. Back 17 into the chamber turning, all my soul 

within me burning, 
18 Soon again I heard a tapping, something louder 
than before. 
"Surely," said I, "surely that is something at 
my window lattice ; 
19 Let me see, then, what thereat is, and this 
mystery explore — 
Let my heart be still a moment, and this mys- 
tery explore; — 20 

*Tis the wind, and nothing more." 



21 Open here I flung the shutter, when, with many 

a flirt and flutter, 
22 In there stepped a stately Raven of the saintly 

days of yore. 



THE RAVEN. 



117 



Not the least obeisance made he; not a minute 

stopped or staid he; 
But, with mien of lord or lady, perched above 
my chamber door — 
23 Perched upon a bust of Pallas, just above my 
chamber door — 

Perched, and sat, and nothing 
more. 



LOUD. 



Then this ebony bird beguiling my sad fancy 
into smiling, 

By the grave and stern decorum of the coun- 
tenance it wore, 
24 "Though thy crest be shorn and shaven, thou/' 
I said, "art sure no craven, 

Ghastly, grim, and ancient Eaven, wandering 
from the Nightly shore — 

Tell me what thy lordly name is on the Night's 
Plutonian shore !" 

Quoth the Baven, "Nevermore." 



VERY 
QUICK. 



Much 25 I marvelled this ungainly fowl to hear 
discourse so plainly, 

Though its answer little meaning — little rele- 
vancy bore : 

For we cannot help agreeing that no living 
human being 

Ever yet was blessed with seeing bird above his 
chamber door — 26 

Bird or beast upon the sculptured bust above 
his chamber door, 

With such name as "Nevermore." 



QUIET. 



But the Baven 27 sitting lonely on that placid 

bust, spoke only 
That one word, as if his soul in that one word 

he did outpour. 
Nothing farther then he uttered ; not a feather 

then he fluttered — 
Till I scarcely more than muttered, "Other 

friends have flown before — 



118 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

On the morrow he will leave me, as my hopes 
have flown before/' 

Then the bird said, "Nevermore." 

quick. 28 Startled at the stillness broken by reply so aptly 

spoken, 

"Doubtless/' said I, "what it utters is its only 
stock and store, 

Caught from some unhappy master whom un- 
merciful Disaster 

Followed fast and followed faster, till his songs 
one burden bore — 

Till the dirges of -his Hope that melancholy 
burden bore 

Of 'Never — nevermore/ " 



But the Raven still beguiling all my sad soul 
into smiling, 
29 Straight I wheeled a cushioned seat in front of 
bird and bust and door; 
Then, upon the velvet sinking, I betook myself 

to linking 
Fancy unto fancy, thinking what this ominous 
bird of yore — 
30 What this grim, ungainly, ghastly, gaunt, and 
ominous bird of yore 

Meant in croaking "Nevermore." 



This I sat engaged in guessing, but no syllable 
expressing 

To the 31 fowl whose fiery eyes now burned into 
my bosom's core; 

This and more I sat divining, with my head 
at ease reclining 

On the cushion's velvet lining that the lamp- 
light gloated o'er, 

But whose velvet lining with the lamp-light 
gloating o'er, 

She shall press, ah, nevermore ! 



THE RAVEN. 



119 



Then, methought, 32 the air grew denser, per- 
fumed from an unseen censer 

Swung by Seraphim whose foot-falls tinkled 33 
on the tufted floor. 
mystery. ^"Wretch" I cried, "thy God hath lent thee— 
by these angels He hath sent thee — 

Respite — respite and nepenthe from thy memo- 
ries of Lenore; 

Quaff, oh quaff this kind nepenthe, and forget 
this lost Lenore!" 

Quoth the Eaven, "Nevermore." 



VERY 
LOUD. 



"Prophet !" 35 said I, "thing of evil ; — prophet 

still, if bird or devil ! — 
Whether Tempter sent, or whether tempest 

tossed thee here ashore, 
Desolate, yet all undaunted, on this desert land 

enchanted — 
On this home by Horror haunted — tell me 

truly, I implore — 36 
Is there — is there balm in Gilead? — tell me — 

tell me — I implore!" 

Quoth the Eaven, "Nevermore." 



"Prophet !" 37 said I, "thing of evil ! — prophet 

still, if bird or devil ! 
By that heaven that bends above us — by 38 that 
God we both adore — 
39 Tell this soul with sorrow laden if, within the 

distant Aidenn, 
40 It shall clasp a sainted maiden whom the angels 
named Lenore — 
Clasp a rare and radiant maiden whom the 
angels named Lenore?" 

Quoth the Eaven, "Nevermore." 



HIGH KEY. 
LOUD. 



"Be that 41 word our sign of parting, bird or 
fiend !" I shrieked, upstarting — 42 

Get thee bach 43 into the tempest and the 
Night's Plutonian shore ! 



120 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

Leave no black plume as a token of that lie 

thy soul hath spoken ! 
Leave my loneliness unbroken ! — quit the bust 
above my door ! 
**Take thy beak from out my heart, \ and take 
thy form from off my door !" 

Quoth the Raven, "Nevermore/' 

45 And the Raven, never flitting, still is sitting, 
still is sitting 
On the pallid bust of Pallas, just above my 

chamber door; 
And his eyes have all the seeming of a demon's 
that is dreaming, 
low And the lamp-light o'er him streaming throws 

slow. his shadow on the floor; 

And | * Q my soul, | from out that shadow that 
lies floating on the floor, 

Shall be lifted — nevermore ! 



1 The reciter is seated at a table on which a lamp and open book is 
placed — drops hand on book — looks to front. 2 Quick movement of sur- 
prise. 3 Action of tapping with fingers. 4 Index finger pointing to floor — 
describe with it a small circle. 5 Clasp hands. 6 Touch the book." 7 Point 
to right side, then bring hand to breast. 8 Grasp the breast. 9 Stand up. 
10 Both hands extended. X1 Take slowly four steps to right. 12 Rubbing the 
eyes. 13 Action of tapping. 14 Open both arms. 15 Point to right. 18 No. 
5 arm plate. 17 Take four steps back to center. 1H Movement of surprise. 
19 Take three steps to left — hand on heart. 20 No. 1 hand plate. 21 Fling 
hands to left as if opening shutter. 22 Wave the right hand from left 
side to right. 23 Point upward to the right. 24 Right hand directed up- 
ward to the right. 25 Both hands in front. 26 Point up right. 27 Shake 
finger up right at Raven. 28 No. 5 arm plate. 29 Move the chair, that 
when seated you will face Raven. 30 Seated — right hand gesticulating at 
Raven. 31 Point to bird, then bring hand to breast. 32 Both hands out — 
fingers pointing upward. 33 Shake finger — pointing at floor. 34 Right hand 
up — look at Raven. 35 Same gesture. 36 Clasp hands. 37 Right hand up. 
38 No. 4 arm plate. 39 Hand on breast. 40 No. 14 hand plate. 41 Shake 
fist at Raven. 42 Rise quickly. 43 Swing right hand from left shoulder 
across to extreme right. 44 Place hand over heart — throw head well back. 
45 Seated in chair facing audience — hands hanging down. 46 Hands on 
breast. 



THE DIVER. 



121 



RATHER 
LOUD. 



46-THE DIVER. 

Schiller. 
(Translated by J. C. Mangan.) 
1 Baron or vassal, is any so bold 

2 As to plunge in yon gulf, and follow, 
Through chamber and cave, this beaker 3 of 
gold — 
Which already the waters whirlingly swallow ? 
4 Who retrieves the prize from the horrid abyss 
Shall keep it : the gold and the glory be his \" 



So spake the king, and incontinent flung — 5 
From the cliff, that, gigantic and steep, 

High over Charybdis's whirlpool hung, 
A glittering wine-cup down in the deep ; 

And again he asked : 6 "Is there no one so brave 

As to plunge for the gold in the dangerous 
wave ?" 



LOUD. 



And the knights and the knaves all answerless 
hear 
The challenging words of the speaker; 
And some glance downwards with looks of fear. 
And none are ambitious of winning the 
beaker. 
And a third time the king his question urges — 
7 "Dares none, then, breast the menacing surges?" 

s Eut the silence lasts unbroken and long; 
9 When a Page, fair-featured and soft, 
Steps forth from the shuddering vassal-throng, 
10 And his mantle and girdle already are doffed : 
And the groups of nobles and damsels nigh 
Envisage the youth with a wondering eye. 



He dreadlessly moves 11 to the gaunt crag's brow, 
And measures the drear depth under; — 

But the waters Charybdis had swallowed, she 
now 
Regurgitates, bellowing back in thunder; 



122 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

descrip- 12 And the foam, with a stunning and horrible 
tive. sound, 

Breaks its hoar way through the waves around. 



And now, ere the din rethunders, the youth 13 

Invokes the great name of God; 
And blended shrieks of horror and ruth 
quick. Burst forth as he plunges 14 headlong unawed : 

And down he descends through the watery bed, 
And the waves boom over his sinking head. 

15 Now, wert thou even, Monarch ! to fling 
Thy crown in the angry abyss, 
And exclaim, "Who recovers the crown | shall 
be Icing I" 
The guerdon were powerless to tempt me, 
I wis; 
But hark ! — 16 with a noise like the howling of 

storms, 
Again the wild water the surface deforms. 



SUR- 
PRISE.. 



When, lo ! 17 ere as yet the billowy war, 
Loud raging beneath, is o'er, 
18 An arm and a neck are distinguished afar — 

And a swimmer is seen to make for the shore ; 
19 And hardily buffeting surge and breaker, 
He springs upon land with the golden beaker. 



Now bearing the booty 20 triumphantly, 
21 At the foot of the throne he falls, 
And he proffers his trophy on bended knee; 
And the king to his beautiful daughter calls, 
22 Who fills with red wine the golden cup, 
While the gallant stripling again stands up: 



'All hail to the King! 23 Eejoice, ye who 
breathe 
Wheresoever Earth's gales are driven! 



THE DIVER. 



123 



DECLAM- 
ATORY. 



For ghastly and drear is the region beneath; 
And let man beware how he tempts high 
Heaven ! 
Let him never essay to uncurtain to light 
24 What destiny shrouds in horror and night. 



"But the God I had cried to answered me 25 
When my destiny darkliest frowned, 
26 And He showed me a reef of rocks in the sea, 
27 Whereunto I clung, and there I found 
On a coral crag, the goblet of gold, 
Which else to the lowermost crypt had rolled. 



INCREASE 
THE 
FORCE. 



"And there I hung, 28 aghast and dismayed, 

Among skeleton larvae; the only 
Soul conscious of life — despairing of aid 

In that vastness untrodden and lonely. 
But the maelstrom grasped me with arms- of 

strength, 
And upwhirledP 9 and upbore me to daylight at 
length." 



Then spake to the page the marvelling king — 
30 "The golden cup is thy own, 
But — I promise thee further this jewelled ring, 

That beams with a priceless hyacinth stone, 
Shouldst thou dive once more, and discover 

for me 
The mysteries shrined in the cells of the sea/' 



PLEADING 
TONE. 



Now the king's fair daughter was touched and 
grieved, 
And she fell at her father's feet — 
31 "0 father ! enough what the youth has achieved ! 
Expose not his life anew, I entreat ! 
If this your heart's longing you cannot well 

tame, 
There are surely knights here who will rival 
his fame." 



124 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

But the king hurled 32 downwards the golden 
cup; 
And he spake, as it sank in the wave — 
33 "Now, shouldst thou a second time bring it 
me up, 
As my knight, and the bravest of all my 
brave, 
Thou shalt sit at my nuptial banquet, and sha 
Who pleads for thee thus thy wedded wifn 
shall be I" 



QUICK. 



SLOW. 



34 Then the blood to the youth's hot temples rushes, 

And his eyes on the maiden are cast, 

And he sees her at first overspread with blushes, 

And then growing pale and sinking aghast; 

35 So, vowing to win so glorious a crown, 

For life, or for death, he again plunges 36 down ! 

37 The far-sounding din returns amain, 
And the foam is alive as before, 
And all eyes are bent downward. In vain! in 
vain Z 38 
The billows indeed re-dash and re-roar; 
But, while ages shall roll, and those billows 
shall thunder, 
39 That youth shall sleep under! 



1 Both hands, No. 1 hand plate — look around. 2 Point down. 3 As 
holding cup. 4 Still holding cup. 5 Throw it downward. 6 No. 1 hand 
plate — turn body to right and left. 7 Point down. 8 Both hands ex- 
tended in front — palms down. 9 Point to left. 10 Action of taking off 
cloak. u Send hand from breast outward. 12 Point downward. 13 No. 10 
hand plate — look up. 14 Quickly point down. 15 No. 1 hand plate. 16 Step 
to right — hand to ear. 17 Step back — hand perpendicular in front of face. 
18 Point down and outward. 19 Motion of swimming. 20 No. 6 arm plate. 
21 Point down. 22 Action of pouring wine into cup. 23 Wave the hand up- 
ward. 24 No. 12 hand plate. 25 Clasp hands— look up. 26 Point in front. 
27 Both hands to front clinched. 28 Same gesture — eyes up and sparkling. 
29 Rising gesture- — both hands as in No. 1 arm plate. 30 As holding out 
cup. 31 No. 13 hand plate — advance one step — look up. 32 Action of 
throwing down cup. 33 No. 1 hand plate. 34 Send right hand to the fore- 
head. 35 No. 4 arm plate. 36 Quickly point downward. 3T Point down. 
38 Clasp hands — looking down. 39 Shake finger downward. 



OUR FOLKS. 



125 



LIVELY. 



EARNEST. 



LOUD. 



47-OUR FOLKS. 

Ethel Lynn. 
"Hi ! Harry I 1 halt a breath, and tell a comrade 

just a thing* or two ; 
You've been on furlough? been to see how all 

the folks in Jersey do ? 
It's long ago since I was there, — I, and a bullet 
from Fair Oaks: — 
2 When you were home, old comrade, say, did you 
see any of 'our folks' ? 

3 "You did? Shake 4 hands. That warms my 

heart; for, if I do look grim and rough, 

Fve got some feeling ! People think a soldier's 

heart is nought but tough; 
But, Harry, when the bullets fly, and hot salt- 
petre flames and smokes, 
5 While whole battalions lie a-field, one's apt to 
think about his 'folks/ 

"And so you saw 6 them — when? and where? 

The Old Man— is he hearty yet ? 
And Mother — does she fade at all? or does she 

seem to pine and fret 
For me ? And Sis 7 — has she grown tall ? And 

did you see her friend, — 8 you know, — 
That Annie Moss — How this 9 pipe chokes! — 

where did you see her ? 10 Tell me, Hal, 

a lot of news about "our folks.' 

"You saw them in the church, you say ; it's likely, 

for they're always there. 
Not Sunday? 11 No?— A funeral? 12 Who? 

Who, Harry ? — How you shake and stare ! 
All well, you say, and all were out — What ail3 

you, Hal? Is this a hoax? 
Why don't you tell me like a man, 13 what is the 

matter with 'our folks' ?" 

"I said all well, old comrade — true; 14 I say all 
well; for 15 He knows best 



126 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOW AND 
SLOW. 



SOOTH- 
ING. 



SLOW. 



Who takes the young ones in His arms before the 

sun goes to the west. 
Death deals at random, right and left, and 10 

flowers fall as well as oaks; 
17 And so — fair Annie blooms no more! . . . 

and that's the matter with your 'folks/ 

18 "But see, this curl was kept for you ; and this 

white blossom from her breast ; 
And look, 19 your sister Bessie wrote this letter, 

telling all the rest: — 
Bear up, old friend !" . . . Nobody speaks ; 

only the old camp-raven 20 croaks, 
And soldiers whisper: — "Boys, be still; there's 

some bad news from 21 Granger's 'folks.' " 

He turns his back — the only foe that ever saw 

it — on this grief, 
And, as men will, keeps down the tears kind 

Nature sends to Woe's relief, 
Then answers :— 22 "Thank you, Hal, I'll try; 

but in my 23 throat there's something 

chokes, 
Because, you see, I've thought so long to count 

her in among 'our folks.' 

"I daresay she is happier now; but still I can't 

help thinking, too, 

24 I might have kept all trouble off, by being tender, 

kind and true — 

But maybe not . . . 25 She s safe up there ! 

and when God's hand deals other strokes, 

26 She'll stand by Heaven's gate, I know, and 



1 Carelessly throw out right hand. 2 Put both hands in pockets and 
slightly swagger. 3 Put out right hand. 4 As if shaking hands. 5 No. 5 
arm plate. 6 Take two steps to right whilst speaking. 7 Put out hand — 
palm down to indicate her height. 8 Careless off-hand gesture. 9 Smother 
a cough. 10 No. 1 hand plate. " Advance. 12 Right hand out — very ear- 
nest. 13 Shake right hand. 14 No. 1 hand plate. 15 Point upward slowly. 
16 Point downward. 17 Raise the hands up and drop them quickly. 18 Aa 
holding up curl. 19 Put out hand — thumb and first finger together. 20 Point 
left. 21 Point over left shoulder with left thumb. 22 Hands on head. 
23 Clutch at throat. 24 No. 1 hand plate. 25 Point slowly upward. 26 Still 
pointing up. 



SHERIDAN'S RIDE. 



127 



LIVELY. 



QUICK. 



VERY 
RAPID. 



48-SHERlDAN'S RIDE. 

Thomas Buchanan Read. 

1 Up from the south at break of day, bringing 
to Winchester fresh dismay, the affrighted air with 
a shudder bore, like a herald in haste, to the 
chieftain's door, 2 the terrible grumble and rumble 
and roar, telling the battle was on once more — 
s and Sheridan twenty miles away! 

And wilder still those billows of war 4 thundered 
along the horizon's bar; and louder yet into Win- 
chester | rolled the roar of that red sea uncon- 
trolled, 5 making the blood of the listener cold — 
as he thought of the stake in that fiery fray, 6 with 
Sheridan twenty miles away! 

7 But there is a road from Winchester town, a 
good broad highway leading down: and there, 
through the flash of the morning light, a steed as 
black as the steeds of night, was seen to pass as 
with eagle flight; — as if he knew the terrible need, 
he stretched away with the utmost speed; 8 hills 
rose and fell — but his heart was gay, 9 with Sheri- 
dan fifteen miles away ! 

10 Still sprung from these swift hoofs, thundering 
south, the dust, like the smoke from the cannon's 
mouth, or the trail of a comet sweeping faster 
and faster; foreboding to traitors the doom of 
disaster: the heart 11 of the steed and the heart of 
the master were beating like prisoners assaulting 
their walls, impatient to be where the battle-field 
calls ; 12 every nerve of the charger was strained to 
full play, with Sheridan 13 only ten miles away! 

Under his spurning feet, 14 the road like an ar- 
rowy Alpine river flowed; 15 and the landscape 
sped away behind, like an ocean flying before the 
wind; and the steed, like a bark fed with furnace 
ire, swept 16 on with his wild eyes full of fire : but, 
lo ! he is nearing his heart's desire — he is snuffing 
the smoke of the roaring fray; with Sheridan 17 
only five miles away ! 



128 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

The first that the General saw/ 8 were the groups 
of stragglers, and then, the retreating troops ! — 19 
What was done — what to do — a glance told him 
both; and striking his spurs, with a terrible oath 
he dashed 20 down the line 'mid a storm of huzzahs, 
and the wave of retreat checked its course there, 
because the sight of the master 21 compelled it to 
pause. 22 With foam and with dust the black 
charger was grey : by the flash of his eye, and his 
red nostril's play, he seemed to the whole great 
army 23 to say, "I have brought you Sheridan, all 
the way from Winchester-town to save the day !" 
L0UD - 2 *Hurrah, hurrah for Sheridan ! hurrah, hurrah 

for horse and man! and when their statues are 
placed on high under 25 the dome of the Union 
sky, — the American soldier's Temple of Fame, — 
there with the glorious General's name, be it said 
in letters both bold and bright : "Here is the steed 
that saved the day by carrying Sheridan into the 
fight, from Winchester — twenty miles away!" 



1 Sweep the extended right arm inward. - Right hand out — use the 
upward and downward movement on emphatic words. s Point to the ex- 
treme right — step to right. 4 Make three waves with the right hand in 
bringing it from right to center. 5 Both hands on chest. 6 Point and step 
to right. 7 Gradually bring hand from right to center. 8 Elevate and de- 
press hand in front. 9 Step and point to right. 10 No. 8 arm plate. 
11 Hand on heart. 12 Put forward both hands clinched. 13 Step and point 
to right. 14 Point down. 15 Sweep hand from breast to extreme right. 
16 Repeat 15 . 17 Step and point right. 18 No. 5 arm plate. 13 Gesticulate 
alternately with both hands. ' M Send hand from breast out front — advance. 
21 Bring hand down in front forcibly. 2 - No. 1 hand plate. 23 No. 5 arm 
plate. 24 Wave hand several times over head. 20 Point upward in front. 
Retain this position to the end. 



PAUL REVERES RIDE. 



129 



BRISK. 



49-PAUL REVERE'S RIDE. 

H. W. Longfellow. 

quick. listen, friends all, and you shall hear of the 

midnight ride of Paul Revere, on the eighteenth of 
April, in 'Seventy-five; not one man is now alive 
who remembers that famous day and yearj . . . 
He said to 2 his friend, "If the British march by 
land or sea from the town to-night, hang a latern 3 
aloft in the belfry arch of the Xorth Church tower, 
as a signal light, 4 — one, if by land, and 5 two if by 
sea, 6 and I on the opposite shore will be, — ready to 
ride and spread the alarm through every Middlesex 
village and farm, for the country-folk 7 to be up 
and to arm !" Then he said "Good-night I" and, 
with muffled oar, silently rowed 8 to the Charles - 
town shore, just 9 as the moon rose over the bay, 
where swinging wide at her moorings 10 lay the 
Somerset, British man-of-war — a phantom-ship, 
with each mast and spar across the moon like a 
prison bar ; and a huge black hulk, that was magni- 
fied by its own reflection in the tide. 

Meanwhile, his friend, 11 through alley and 
street, wanders and watches with eager ears, till, 
in the silence around him, he hears the muster 12 of 
men at the barrack-door — the sound of arms, and 
the tramp of feet, and the measured tread of the 
grenadiers, 13 marching down to their boats on the 
shore! 14 Then he climbed to the Tower of the 

slower. Church, up the wooden stairs, with stealthy tread. 
to the belfry-chamber overhead, and startled the 
pigeons from their perch on the sombre rafters, 1 " 1 
that round him made masses and moving shapes 
of shade, — up the trembling ladder, steep and tall, 
to the highest window in the wall. 16 where he 
paused | to listen and look down a moment on the 
roofs of the town, and the moonlight flowing over 
all. Beneath, 17 in the churchyard, lay the dead, 
in their night encampment on the hill ; wrapped 
in silence so deep and still that he could hear, like 



130 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



SURPRISE. 



QUICK. 



FULL 
TONES. 



a sentinel's tread, the watchful night-wind, as it 
went creeping along from tent to tent, 18 and seem- 
ing to whisper, "All is well I" A moment only he 
feels the spell of the place and the hour, and the 
secret dread of the lonely belfry and the dead; 12 
for, suddenly, all his thoughts are bent on a 
20 shadowy something far away, where the river 
widens to meet the bay, — a line of black, that 
bends and floats on the rising tide, . . . like a 
bridge of boats! 

Meanwhile, impatient to mount and ride, booted 
and spurred, 21 with a heavy stride on the opposite 
shore walked Paul Eevere. Now he 22 patted his 
horse's side, now gazed at the landscape far and 
near; then, impetuous, 23 stamped the earth, and 
turned and tightened his saddle-girth ; but mostly 
he watched with eager search the belfry-tower of 
the Old North Church, as it rose above the graves 
on the hill, lonely and spectral and sombre and 
still. 24 And lo ! as he looks, on the belfry's height, 
a glimmer, and then a gleam of light ! He springs 
to the saddle, 25 the bridle he turns; but -lingers and 
gazes, till full on his sight a second lamp in the 
belfry burns ! . . . 26 A hurry of hoofs in a 
village street ! a shape in the moonlight ! a bulk in 
the dark ! and beneath, from the pebbles, in pass- 
ing, a spark, struck out by a steed flying fearless 
and fleet : — that was all ! And yet, through the 
gloom and the 27 light, the fate of a nation was 
riding that night; and the spark struck out bv 
that steed, in his flight, kindled the land into 
flame with its heat. 

28 It was twelve by the village clock, when he 
crossed the bridge into Medford town. He heard 
the crowing of the cock, and the barking of the 
farmer's dog, and felt 29 the damp of the river fog, 
that rises after the sun goes down 30 It was one 
by the village clock, when he galloped into Lex- 
ington. He saw the gilded weathercock swim in 
the moonlight as he passed; and the meeting- 
house windows, blank and bare, gaze at him with 



PAUL REVERES RIDE. 131 

a spectral glare, as if they already stood aghast 
at the bloody work they would look upon. 31 It 
was two by the village clock, when he came to the 
bridge in Concord town. He heard the bleating 
of the nock, and the twitter of birds among the 
trees; and felt the breath of the morning breeze 
blowing over the meadows brown. — And one was 
safe and asleep in his bed, who at the bridge would 
be first to fall; who, that 32 day, would be lying 
dead, pierced by a British musket-ball 1 

You know the rest. 33 In the books you have 
read, how the British 34 Eegulars fired and fled ! — 
how the farmers gave them ball for ball, from be- 
hind each fence and farmyard wall, chasing the 
red-coats down the lane ; 35 then crossing the fields 
to emerge again under the trees at the turn of the 
road, and only pausing to fir& and load. — So 
through 36 the night rode Paul Eevere; and so 
M °lte R through the night went his cry of alarm to every 

time. Middlesex village and farm, — a cry of defiance, 
and not of fear; a voice in the darkness, a knock 
at the door, and a word 37 that shall echo for ever- 
more! For, borne on the night-wind of the 38 past, 
through all our history, to the last, in the hour 
of darkness and peril and need, the people will 
waken and listen to hear the hurrying hoof-beats 
of that steed, | 39 and the midnight message of 
Paul Revere! 



1 No. 1 hand plate. 2 No. 8 arm plate. * Hold up right hand. * Put 
up one finger. 5 Put up two fingers. 6 Hand on breast. 7 Wave upward both 
hands. 8 Point in front. 9 Gradually raise left arm — the hand pointing 
left. 10 Point in front with left hand. 1X Point twice successively in front. 
12 Right hand behind ear — listening. 13 Point to front. 14 Alternate move- 
ment of the hands indicative of climbing. 15 Point upward. 16 Step for- 
ward — bend — act of listening — hand out. 17 Both hands pointing down 
obliquely from body. 18 Send fingers from mouth outward. 19 Start. 
20 Touch forehead — point in the distance — bend. 21 Point in front — step 
quickly forward. 22 Action of patting. 23 Stamp with right foot. ** Step 
backward with surprise- — hands up. 25 Swing right hand from lower 
breast upward to right. 26 Point down — then straight to the front. 2T No. 
8 hand plate — gesticulate strongly. 28 Hold up index finger. 29 Both 
hands on breast. 30 Same as 28 . 31 Repeat 28 . 32 Point downward — shake 
finger slowly. 33 No. 5 arm plate. 34 Position of taking aim with gun — 
then point left. 35 Bring right hand from left shoulder across body to 
extreme right. 36 No. 1 hand plate. 37 Throw both hands up — palms out. 
38 No. 4 arm plate. 39 No. 5 arm plate. 



132 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

50-THE DREAM OF THE REVELLER. 

Charles Mackay. 
Around the board | J the guests were met, the 
lights 2 above them beaming, 
3 And in their cups, replenish' d oft, the ruddy 

wine was streaming; 
4 Their cheeks were flush' d, their eyes were bright, 
their hearts with pleasure bounded, 
The song was sung, the toast was given, and 
loud 5 the revel sounded, 
6 I drained a goblet with the rest, and cried, 
"Away with sorrow! 
Let us be happy for to-day; what care we for 

to-morrow f 
But as I spoke, my sight grew dim, and slumber 

deep came o'er me, 
And, 'mid the whirl of mingling tongues, 7 this 
vision pass'd before me. 

rather Methought | I saw a 8 Demon rise : he held a 

LOUD - mighty beaker 9 

Whose burnish'd sides ran brimming o'er with 

floods of burning liquor : 
Around him press'd a clamorous crowd, to taste 
this liquor greedy, 
10 But chiefly came the poor and sad, the suffering 
and the needy; 
All those oppress'd by grief or debt, — the disso- 
lute, the lazy, — 
Blear-eyed old men and reckless youths, and 
palsied women, crazy; 
llu Give, give!" they cried, "give, give us drink, 
to drown all thought of sorrow; 
If we are happy for to-day, what care we for 
to-morrow f" 

12 The first drop warm'd their shivering skins, and 
drove away their sadness; 

13 The second lit their sunken eyes, and filled their 
souls with gladness; 



THE DREAM OF THE REVELLER. 



133 



14 The third drop made them shout and roar, and 
play each furious antic; 
The fourth drop boil'd their very blood: and 
L0UD , the fifth drop drove them frantic. 

15<< Drink!" said the Demon, "drink your fill! 
drink of these waters mellow; 
They'll make you eyeballs sear and dull, and 

turn your white skins yellow; 
They'll fill your homes with care and grief, and 

clothe your backs with tatters; 
They'll fill your heart with evil thoughts; but 
never mind! — what matters? 



MEDIUM 
TIME. 



"Though virtue sink, and reason fail, and social 

ties dissever, 
16 Fll be your friend in hour of need, and find you 

homes for ever; 
For I have built three mansions high, three 

strong and goodly houses, 
To lodge at last each jolly soul who all his life 

carouses. — 
17 The first, it is a spacious house, to all but sots 

appalling, 
Where, by the parish bounty fed, vile, in the 

sunshine crawling, 
The worn-out drunkard ends his days, and eats 

the dole of others, 
A plague and burthen to himself, an eye-sore 

to his brothers. 



l8 "The second is a lazarhouse, rank, fetid, and 

unholy ; 
Where, smitten by diseases foul and hopeless 

melancholy, 
The victims of potations deep, pine on the 

couch of sadness, — 
Some calling Death to end their pain, and some 

imploring Madness. 



134 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

19 The third and last is black and high, the abode 

of guilt and anguish, 
And full of dungeons deep and fast, where 

death-doom' d felons languish. 
So drain the cup, and drain again! One of 

my goodly houses 
Shall lodge at last each jolly soul who to th3 

dregs carouses!" 

But well he knew — that Demon old 20 — how vain 

was all his preaching, 
21 The ragged crew that round him flock' d were 

needless of his teaching; 
Even as they heard his fearful words, they cried, 

with shouts of laughter, — 
loud. 22 "Out on the fool | who mars To-day with 

thoughts of a Hereafter! 
We care not for thy houses three; we live but 

for the present; 
And merry will we make it yet, 23 and quail* 

our bumpers pleasant." . . . 
Loud laugh' d the fiend to hear them speak, and, 

lifting 24 high his beaker, 
"Body and Soul are mine \" said he ; "I'll have 

them both — for liquor!" 



1 No. 5 arm plate — turn and look around. 2 Point upward. * Holding 
up the cup. * Touch cheek, eye and breast. 5 Wave hand upward — wrist 
movement. 6 Act of drinking. 7 Wave both hands from eyes outward — 
fingers apart. 8 Point down — gradually raise hand, pointing finger in 
front. 9 Holding out cup. 10 No. 5 arm plate. xl Advance — hand ex- 
tended — eager look and gesture. 12 Touch breast — send arm to left. 
13 Touch eye and breast. 14 Throw both hands up. 15 Holding out cup — 
keep position for five lines. 16 Touch breast with left hand. 17 Arms wide 
apart. 18 Point down. 19 Elevate arm quite high. 20 Advance to front — 
shake the finger toward audience. 21 No. 5 arm plate. 22 Shake fist. " Ac- 
tion of drinking. 2i Raise the beaker — keep picture till end. 



TWO LOVES AND A LIFE. 



135 



VERY 
NATU- 
RAL. 



INTENSE. 



LOUD. 



QUIET. 



51-TWO LOVES AND A LIFE. 

William Sawyer. 

Towards the 1 scaffold's guard she came: leaped 
her black eyes into flame ; rose 2 and fell her pant- 
ing breast — 3 there a Pardon closely pressed ! She 
had heard her lover's doom, — traitor death and 
shameful tomb; heard the price upon his head, 
— "I will save him!" 4 she had said. "Blue-eyed 
Annie loves him too; she will weep, but Euth will 
do. Who should save him sore distress ? — who but 
she 5 who love him best!" 

To the scaffold now she came ; 6 on her lips there 
rose his name, rose, and yet in silence died. . . ? 
Annie nestled by his side ! Over Annie's 8 face he 
bent — 9 round her waist his fingers went, "Wife!"' 10 
he called her — called her "wife !" n — Simple word 
to cost a life ! 

In Ruth's breast 12 the pardon lay, but she 13 
coldly turned away: — "He has sealed his traitor 
fate 14 — I can love, and I can hate! Annie is his 
wife !" they said ; "be she wife, then, to 15 the dead : 
since the dying she will mate — I can love, and I 
can hater 16 "What their sin? They do but 
love : let this thought thy bosom move !" Came the 
jealous answer straight, "I can love, and I can 
hate!" 11 "Mercy!" still they cried. But she, 
"Who has mercy upon me? Who? 18 My life 
is desolate 19 — I can love, and I can hate !" 

From the scaffold stairs she went, shouts the 
noon-day silence rent; all the air was quick with 
cries 20 — "See the traitor! see, he dies!" 21 Back 
she looked; with stifled scream saw 22 the axe up- 
swinging gleam; all her woman's anger died — 
"From the King !" 23 she faintly cried. "From the 
King ! His name — behold !" quick the parchment 
she unrolled. 24 Pausing the axe in upward swing, 
"He is pardoned!" "Live the King!" 

25 Glad the cry, and loud, and long; all about 
the scaffold throng, there entwining, fold on fold, 



136 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUD. 



raven tresses — locks of gold. There, 26 against 
Euth^s tortured breast Annie's tearful face is 
pressed, while the white lips murmuring move — 
"I can hate, but I can love!" 



1 No. 8 arm plate. * Hand on breast — inhale and exhale air in 
marked manner. 3 Touch twice the breast with finger. 4 Clasp hands 
across breast — look up — one step forward. 6 Shake the head slowly. 
6 Touch lips — then move hand outward. 7 Point front. 8 No. 1 hand 
plate — bend slightly forward. 9 Let fingers meet in front — act of em- 
bracing. 10 Place right hand on head — left hand on breast. X1 Falling of 
arm, No. 3 arm plate. 12 Touch breast. 13 Walk to the left. 14 Clasp 
hands — intense action. 15 Point down. 1C No. 2 hand plate. 17 Clasp 
hands — look up. 18 Cross hands over breast. 19 Same as 18 . 20 Point 
front — excitedly. 21 Quick turn to right. 22 Raise both hands directly 
over head — holding axe. 23 Hold up the pardon. 2 * Act of unrolling 
parchment. 25 Wave the hand — act of cheering. 20 No. 14 hand plate. 



LIGHT. 



QUICK. 



NATURAL. 



52-THE COUNTRY SQUIRE. 

Bentley Ballads. 

In a small pretty village 1 in Nottinghamshire, 
there formerly lived a respectable Squire, who 
excelled all his friends in amusements athletic, 
and whose manner of living was far from ascetic. 
A wife he had 2 taken for better, for worse, whose 
temper had proved an intolerant curse; but at 
length, to his great and unspeakable joy, she died 
when presenting a fine little boy. 3 Strange fancies 
men have ! — the father designed to watch o'er the 
dawn of his son's youthful mind — that, only ap- 
proached by the masculine gender, no room should 
be left him for feelings more tender. *"Had I 
ne'er seen a woman" he often would sigh, "whal 
squire in the country so happy as I V 

5 The boy | was intelligent, active, and bright, 
and took in his studies uncommon delight; — 6 no 
juvenile follies distracted his mind — 7 no visions 
of bright eyes or damsels unkind; and those fair 8 
demi-sisterly beings so gay, yclept "pretty 
cousins" ne'er popped in his way: till at length 
this remarkably singular son could number of 
years that had passed | twenty-one. 10 'Now the 



THE COUNTRY SQUIRE. 



137 



EAST. 



SLOW. 



QUICKER. 



father had settled, his promising son should his 
studies conclude when he reached twenty-one: 
and he went with a heart beating high with emo- 
tion/ 1 to launch the young man on life's turbu- 
lent ocean. 

As they entered the town, a young maiden tripped 
by/ 2 with a cheek like a rose, and a light laughing 
eye. 13 "Oh ! father, what's that f" cried the youth 
with delight, as this vision of loveliness burst on 
his sight. 1¥ 'Oh that/' cried the cautious and 
politic Squire, who did not the youth's ardent 
glances admire, 15 "is only a thing called a Goose, 
my dear son — we shall see many more ere our 
visit is done/' Blooming 16 damsels | now passed 
with their butter and cheese, whose beauty might 
even an anchorite please: 17 "Merely geese!" said 
the Squire: "don't 18 mind them, my dear; there 
are many things | better worth looking at here." 

As onward they passed, every step brought to 
view some spectacle 19 equally curious and new; 
and the joy of the youth hardly knew any bounds 
at 20 the rope-dancers, tumblers, and merry-go- 
rounds. And soon, when the tour of the town 
was completed, the father resolved that the boy 
should be treated; so, pausing an instant | he 
said, "My 21 dear son, a new era to-day in your 
life has begun: now of all this bright 22 scene and 
the gaieties in it, choose \ whatever \ you like — it 
is yours from this minute." 23 "Choose whatever 
I like?" cried the youthful recluse; 24 "0 thank 
you, dear father, then give me a goose!" 



1 No. 8 arm plate. - Clasp hands — palms down— shake the head. 
3 Touch forehead — wave hand outward. 4 Hand on breast — sigh — shake 
head. 5 Left hand. No. 1 hand plate. 6 Wave hand. 7 Wave hands from 
eyes outward. 8 Head on one side— hands crossed as in No. 14 hand 
plate. 9 No. 5 hand plate. 10 Bend forward — use No. 5 arm plate. u Place 
hand on heart — then swing it outward. 12 Sway hand across the body, 
following the gesture with eyes. 13 Show innocent surprise — point out- 
ward. 14 Careless and quick movement of the hand. 13 Wave hand 
carelessly again. 16 Send quickly right hand from left shoulder across 
bodv to right. 17 Both hands. No. 1 hand plate — facial expression of dis- 
gust. 1S Snap the fingers. 19 No. 5 arm plate — look up and down and 
sideways. 20 Point in three directions. 21 Rubbing hands together. 
22 Separate the hands — palms up. 23 Raise both hands with surprise. 
24 Clap the hands twice, then point outward. 



138 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LIGHT. 



HUMOR- 
OUS. 



53-RUSTIC LOGIC. 

Anonymous. 
Hodge, 1 a poor honest country lout, not over- 
stocked 2 with learning, 
Chanced on a summer's eve to meet the 3 Vicar, 
home returning. 
4 "Ah; Master Hodge/' the Vicar cried, "what, 
still as wise as ever? 
The people in the village say that you are won- 
drous clever." 
5 "Why, Measter Parson, as to that | I beg you'll 
right conceive me; 
I do na brag, but yet I knaw a thing or two, 

believe me." 
"We'll try your skill," the Parson cried, "for 

learning what digestion: 
And this you'll prove or right or wrong, by 
solving me a question. 
6 Noah, of old, three babies had, or grown-up 
children rather: — 
Shem, Ham, and Japhet they were called; — 
now 7 who was Japhet's father?" 
s "Rat it!" cried Hodge, and scratched his head; 
"that does my wits belabor; 
But howsomde'er, I'll homeward run, 9 and ax 
old Giles my neighbor." 
10 To Giles he went, and put the case with cir- 
cumspect intention: 
"Thou fool !" cried Giles, 11 "I'll make it clear 
to thy dull comprehension. 
12 Three children has Tom Long, the smith, or 
cattle-doctor rather; 
Tom, Dick, and Harry, they are called; now 
who is Harry's father? 13 
14 "Adzooks, I have it!" Hodge replied, "right 
well I know your lingo; 
Who's Harry's father? — stop — here goes, — 
why, 15 Tom Long Smith, by jingo !" 
16 A way he ran to find the priest, with air his 
might and main: 




mm 



ASK MAMMA. 
(See page 139.) 



ASK MAMMA ! 



139 



LOUD. 



EXULT- 
ANT. 



Who, with good humor, instant put the question 

once again. 
17 "jSToah, of old, three babies had, or grown-up 

children rather; 
Shem, Ham, and Japhet they were called : now/ 8 

who was Japhet's father?" 
19 "I have it now/' Hodge grinning cried, "Fll 

answer like a proctor: 
Who's Japhet's father? now I know; 20 why, 

Long Tom Smith, the Doctor I" 



1 No. 11 hand plate. 2 Touch the forehead twice. 3 No. 1 hand plate. 
4 Slightly bowing — smiling. B Put hands in pockets and swagger. 6 Touch 
the left palm with index finger of right. 7 Open arms apart. 8 Striking 
forehead with fist — then scratch head. 8 Point to right. 10 No. 12 hand 
plate. 1X Shake the finger several times. 12 Touch three fingers separately 
of the left hand. 13 Put hands under coat-tails. 14 Slap the leg violently. 
15 Slap both hands loudly. 16 Swing arm out to left. 1T Repeat G . 18 Re- 



peat 



nt i. 



Bend forward — smile — shake fist in front. 20 No. 1 hand plate. 



54-ASK MAMMA! 



MODER- 
ATE. 



CHEER- 
FUL 
TONE. 



A. Melville Bell. 



A bachelor Squire of no great possession, 1 long 
come to what should have been years of discretion, 
determined to 2 change his old habits of life, and 
comfort his days by taking | a wife. He had long 
been the sport of the girls of the place, — they liked 
his good, simple, quiet, 3 cheery, fat face; and 
wherever he went to a tea-drinking party, the 
4 flirts were in raptures — our friend was so hearty! 
They'd fasten a cord near the foot of the door, 
and 5 bring down the jolly old beau on the floor: 3 
they'd pull off his wig while he floundered about, 
and hide it, 7 and laugh till he hunted it out : the}' 
would tie his coat-tails to the 8 back of his seat, 
and scream with delight when he rose to his feet : 
they would send him at Christmas 9 a box full of 
bricks, and play on his temper all manner of 
tricks. One evening | they pressed him to play 
on the flute, and he blew in his eyes 10 a rare scatter 
of soot I He took it so calmly, and laughed while 



140 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



he spoke, that 11 they hugged him to pardon their 
nasty "black joke." One really appeared so sin- 
cere in her sorrow, that he vowed to himself he 
would ask her to-morrow, — and not one of the girls 
but would envy her lot, if this jolly old bachelor's 
offer she got; for they 12 never had dreamed of 
his playing the beau, or doubtless | they would not 
have treated him so. 

However, next day, to fair Fanny's amazement, 
she saw him approach 13 as she stood at the 
easement; and he very soon gave her to know his 
desire, that she should become the dear wife of 



the 



squire. 



La! now, 14 Mr. Friendly, what 



coyly. would they all say?"— but she thought that not 

one of them all would say | nay: 15 — she was 
flustered, with pleasure, and coyness, and pride, 
to be thus unexpectedly sued for a bride. She 
did not refuse him, but yet did not like to say, 16 
''Yes," all at once — the hot iron to strike: so, to 
give the proposal the greater eclat, she said, 17 "Dear 
Mr. Friendly, — youd best ash mamma!" "Good 
morning then, Fanny, I'll do what you say: as 
she's out, I shall call in the course of the day." 
Fanny blushed | as she gave him her 18 hand for 
good-bye, and she did not know which to do first, 
— laugh or cry ; to wed such a 19 dear darling man, 
nothing loth, for variety's sake, in her joy, she did 
both! 20 "0 what will mamma say, and all the 
young girls?" she thought | as 21 she played with 
her beautiful curls. "I wish I had said 18 yes at 
once, — 'twas too bad not to ease his dear mind — 

excited ®> ^ W]S k that 23 I na ^ - 24 I wisn ne na ^ asked me 
to give him a kiss, — but he can't be in doubt of 
my feelings — that's bliss! O, 25 I wish that 
mamma would come home for the news; such a 
good, dear, kind soul, she will never refuse! 26 
There's the bell — here she is. — 0, mamma!" — 
"Child, preserve us ! 27 What ails you, dear Fanny ? 
What makes you so nervous?" "I really 28 can't 
tell you just now, — by and bye Mr. Friendly will 
call— and he'll 29 tell you— not L" "Mr. Friendly, 



ASK MAMMA! 



141 



RAPID. 



DISAP- 
POINT- 
ED. 



my child ! what about him, I pray ?" "0, mamma, 
— he's to call — in the course of the day. He was 
here just this moment, and shortly you'll see he'll 
make you as happy as he has made me. I declare 
he has seen you come home, 30 that's his ring: i 
will leave you and him now to settle the thing." 

Fanny left in a nutter: her mother — the gipsy 
■ — she'd made her as giddy as though she'd been 
tipsy ! Mr. Friendly came in, and the widow and 
he were soon as delighted as Fanny could be: he 
asked 31 the dear widow to change her estate; — she 
consented at once, and a 32 hiss sealed her fate. 
Fanny came trembling in — overloaded with 
pleasure — but soon she was puzzled in as great 
a measure. "Dear Fanny," said Friendly, "I've 
done what you said;" — but what he had 33 done 
never entered her head — "I have asked your 
mamma, and she's given her consent." 34 Fanny 
flew to his arms to express her content. He 
kissed her, and said, — as he kissed her mamma, — 
"I'm so glad, my 35 dear Fan, that you like your 
Papa!" Poor Fanny now found out the 36 state 
of the case, and she blubbered outright, with a 
pitiful face; it was all she could do, under heavy 
constraint, to preserve herself conscious, and keep 
off a faint! 37 She determined, next time she'd 
a chance, you may guess, not to say, 38 "Ask 
mamma/' but at once to say "Yes!" 



1 Simple outward movement of hands. 2 Turn the hand slightly. 
3 Stroke both cheeks. 4 Clap both hands together. 5 Throw hand down- 
ward. 6 Action of pulling off wig. 7 Strike both knees with hands. 
8 Place hands behind the back. 9 Put hands in front as if holding box. 
10 Movement of blowing — then rub the eyes. u Place hands on opposite 
shoulders — action of hugging. 12 Touch forehead and send fingers out- 
ward. 13 Point in front. 14 Make a low bow. 15 Move hands and body 
together from side to side. 16 Nod the head twice. 17 Bowing head and 
moving about uneasily. 18 Put out hand. 19 Hug yourself. 20 Clapping 
hands and jumping about. 21 Action with curls. 22 Bow the head naively. 
23 Shake the head — hands clasped downward. 24 Smile and throw a kiss. 
25 Walking about excitedly. 26 Run three steps and stop. 27 Hold up both 
hands in amazement. 28 Moving about nervously, pulling handkerchief 
through hands. 29 Continue same business — nod the head. 30 Quick start 
forward. 31 Put out right hand — bow. 32 Make noise of loud kiss. 33 Touch 
forehead — shake head. 34 Take a step forward — throw out both arms. 
35 Bring hand to breast. 36 Step backward — hands to head — surprise — - 
wiping eyes. 3T Slap one hand with the other. 38 No. 1 hand plate — bow. 



142 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



55-THE SPIRIT OF CONTRADICTION, 



AFFIRMA- 
TION. 



MODER- 
ATE 
TONE. 



LIGHT 
AND 
QUICK. 



NARRA- 
TIVE 
STYLE. 



Lloyd. 



The very 1 silliest things in life create the most 
material strife; what scarce will suffer a 2 debate, 
will oft produce the bitterest hate. "It 3 is!" you 
say; I say, *"'Tis not!" Why, you grow warm — 
and I am hot. Thus each alike with passion 
glows, and words come first — and after, 5 blows. 

Friend Jerkin had an income clear, some fifty 
pounds or more a year; and rented, on the farm- 
ing plan, grounds at much greater sums per ann. 
A man of consequence no doubt, 'mongst all his 
neighbors 6 round about : he was of frank and open 
mind, too honest to be much refined; would 7 smok.3 
his pipe, and tell his tale, sing a good song, and 
drink his ale. 

8 His wife | was of another mould; her age was 
— neither young nor old; 9 her features, strong, 
yet somewhat plain; her air, not bad, but rather 
vain; her temper, neither new nor strange; a 
woman's — very apt to change : what she most hated 
was 10 — conviction ; what she most loved 11 — fiat 
contradiction! A charming housewife, neverthe- 
less; tell me a thing she could not dress: 12 soups, 
hashes, pickles, puddings, pies, nought came amiss 
— she was so wise ! for she, bred 13 twenty miles 
from town, had brought a world of breeding down, 
and Cumberland had seldom seen a farmer's wife 
with such a mien. She could not bear the sound 
of Dame; no; 1 * — "Mistress Jerkin' was her name. 

Once on a time, 15 the season fair to exercise 
and cheerful air, it happened in his morning's 
roam he killed some birds, and brought them 
home. 16 "Here, Cicely, take away my gun: how 
shall we have these starlings done?" — "Done! 
what, my love ? your wits are wild ! starlings, my 
dear! they're thrushes, child." — "Nay, now, but 
look, consider, wife; they're starlings." — "No, 
upon 17 my life ! sure I can judge as well as you, I 
know a thrush and starling too." 18 — "Who was 



THE SPIRIT OF CONTRADICTION. 



143 



LOUD AND 
NOISY. 



QUIET. 



LOUD. 



it shot them, you or I? they're starlings!" — 
"Thrushes !" 20 — "Wife, you lie/'— -"Pray, sir, take 
back your dirty word, 1 scorn 21 your language as 
your bird; it ought to make a husband blush to 
i;reat a wife so 'bout a thrush." — "Thrush, Cicely ?" 
— "Yes."— "A. starling!"— "No." The lie again, 
and then 22 the blow. Blows carry strong and 
quick conviction, and mar the powers of contra- 
diction. 23 Peace soon ensued, and all was well: 
it were imprudence to rebel, or keep the ball up of 
debate against these arguments of weight. 

24 A year rolled on in perfect ease; 'twas, 25 "As 
you UkeT and, "What you please !" — At length 
returned, in annual flight, the day of this most 
f owlish fight; quoth Cicely — "Ah, 26 this charming 
life, no tumults now, no blows, no strife ! what 
fools we were this day last year ! Law ! how you 
beat me then, my dear ! Sure it was idle and 
absurd, to wrangle so about a bird, a bird not 
worth a single rush." — "A starling." — "No, my 
love, a thrush! that I'll maintain."— "That I'll 
deny!" — "You're wrong, good husband." — "Wife, 
you lie!" 27 Again the self-same wrangle rose, 
again the lie, again the blows. 28 29 Thus, every 
year, this man, or wife, begins the same domestic 
strife; thus, too, each year their quarrel ends — 
they 30 argue, fight, and kiss, and friends. 31 'Tis 
"Starling !"— "Thrush !"— and "Thrush !"— and 
"Starling I"— "You dog .'"—"You cat !"—"My 
dear!"— 'My darling!" 



1 No. 2 arm plate. 2 No. 1 hand plate. 3 Turn to right, put out right 
hand. * Turn to left — use left hand. 5 Raise clinched hand. 6 No. 5 arm 
plate. 7 Action of taking pipe from mouth and puffing smoke. 8 Left 
hand, No. 1 hand plate. 9 Bring hand down in front of face — palm in. 
10 Bring hand forcibly down in front. u Strike left hand with the right. 

12 Up and down movement of the hand on the five following nouns. 

13 Point left. 14 Make an exaggerated bow. 15 Walk a few steps — hands 
as in No. 11 hand plate. 16 Action of handing gun. 17 No. 5 hand plate. 
18 Hand out, then brought to breast. 19 Stamping foot. 20 Strike fist into 
left palm. 21 Swing left hand to left — palm out — turn face to right. 
22 Step forward — send clinched hand out from shoulder. 23 Both hands, 
No. 5 arm plate. 2i No. 1 hand plate. 25 Bending down extravagantly — 
rubbing the hand. 26 Both hands extended front. 27 Shake fist and stamp 
foot. 28 ShoOt arm outward. 29 Advance to front — use No. 5 arm plate. 
30 No. 7 hand plate — shake the finger. 31 Use right and left hand alter- 
nately and turn with gesture on each of the nouns till finish. 



INSINUAT- 
ING. 



144 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



56-THE SPIDER AND THE FLY. 

Mary Howitt. 
"Will you walk 1 into my parlor ?" said a Spider 

to a Fly; 
'Tis the prettiest little parlor that ever you did 

spy- 

The way into my parlor is up a 2 winding stair. 
And I have many 8 pretty things to show you 

when you're there/' 
*"Oh no, no!" said the little Fly, "to ask me is 

in vain, 
For who goes 5 up your winding stair can ne'er 

come 6 down again." 



SLOW. 



"I'm sure you must be weary with soaring up 7 

so high; 
8 Will you rest upon my little bed?" said the 

Spider to the Fly. 
"There are pretty curtains 9 drawn around, the 

sheets are fine and thin, 
And if you like to rest awhile I'll snugly | tuck 

you in/' 10 
n "Oh no, noT said the little Fly, "for I've often 

heard it said, 
They never 12 never wake again, who sleep upon 

your bed!" 



Said the cunning Spider to the Fly, "Dear 

friend, what shall I do 13 
To prove the warm affection I have always felt 

for you? 
I have within my pantry good store of all that's 

nice; 
I'm sure you're very welcome 14 — will you please 

TO yp Vp f\ Q I "I r>p r 

15 "Oh no, noT said the little Fly, "kind sir, that 
cannot be; 
I've heard what's in your pantry, and I do not 
wish to see." 



THE SPIDER AND THE FLY. 145 

"Sweet creatures !" said the Spider/ 6 "you're 
witty and you're wise ! 
flat- How handsome are your gauzy wings, how bril- 

tery. Uant are your eyes ! 

I have a little looking-glass upon my parlor 

shelf ; 
If you'll step in one moment, dear, vour shall 
behold — 17 yourself." 
18 "I thank you, gentle sir," she said, "for what 
you're pleased to say, 
And bidding you good morning now, Til call 
another day." 



The Spider turned him round about, and went 

into his den; 
He knew the vain and silly Fly would soon 19 

come back again: 
So he wove a subtle web in a little corner sly, 
And set his table ready, to dine upon the Fly. 
Then he went out to his door again, and merrily 

did sing: 
20 "Come hither, hither, pretty Fly, with the pearl 

and silver wing! 



"Your robes are green and purple — ^there's a 

crest upon your head, 
22 Your eyes are like the diamond bright, but 

mine are dull as lead." 
23 Alas, alas ! how very soon this silly | little | Fly, 
Hearing his wily, flattering words, came slowly 

flitting by; 
With buzzing wings she hung aloft, then near 24 

and nearer drew, 
Thinking only of her brilliant eyes, her green 

and purple hue, 
And dreaming of her crested head — poor fool- 
ish thing! At last, 
^Up jumped the cunning spider, and fiercely 

held her fast. 2Q 



146 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

He dragged her up his 27 winding stair, into his 

dismal den, 
Within his little parlor — but she ne'er came 

down again! 28 
29 And now, do you take warning! all who this 

story hear; 
To idle, silly, nattering words, I pray you 

ne'er give ear: 
louder. 30 To all deceitful counsellors, close heart, and ear, 

and eye : — 
And take a lesson from this tale, 31 of the Spider 

and the Fly. 



1 Bow — conciliating wave of right hand. 2 Make circular movement 
with finger upward. 3 Both hands — No. 5 arm plate. * Slowly shake the 
head three times. 5 Point up. 6 Bring the hand down. 7 No. 4 arm plate. 
8 Hand pointing down. 9 Fingers touching, then brought down in curves 
outward. 10 Action of tucking in bed clothing. X1 Shake head slowly. 
12 Shake head again. 13 Both hands extended front — advance. 14 Put out 
hand. 15 Shake head. 16 Hand on breast — nodding the head. 17 Bow low. 
18 Bow. 19 Bring hand across body as in No. 6 arm plate. 20 Beckoning 
her. 21 Touch top of head. 22 Touch the eye. 23 Drop the hand. 
24 Make circular movement with right hand. 25 Spring forward. 26 Both 
hands grasping. 21 Send hand upward, the finger making a circular move- 
ment. 28 Sadly shake the head. 29 No. 12 hand plate — advance. 30 No. 
5 arm plate. 31 Right hand out. 



57-THE SLAVE SHIP. 



(Translation.) 



Vogl. 



A ship bounds 1 o'er the open sea, concealed by 

fog and night; 
The waves are foaming over it, dashed by the 

wild storm's might. 
2 Two hundred slaves | lie prisoned there, between 

the narrow beams, 
Half wakened by the howling storm 3 — hair 

brooding savage dreams. 

They see themselves, 4 like laboring beasts, sold 
feelin . on a f ore jg n shore- 



THE SLAVE SHIP. 147 

They feel 5 the scourge's heavy blows, — the sun- 
beams scorching sore. 
6 They pray with fervent soul, aloud, amidst the 
storm and rain: 
"0 Heaven ! release, with sudden death, us from 
such lasting pain!" 

Soon, over slaves and sailors, 7 howls the storm 

with savage might; 
No beacon shines — the lightning's flash 8 alone 
loud. illumes the night. 

The Captain cries : 9 "0 Allah — help ! save us 

from danger, save !" 
The slaves below call wildly out: 10 "0 Lord! 

give us the grave \" 
And fierce and fiercer drives the storm, the 

ship bounds 11 madly on! 
Sudden 12 — it strikes upon a rock I and splits 

— 13 all hope is gone! 
And from the wreck: 14lU woe! woe!" howls 

loudly o'er the sea; 
But from two hundred lips resound: lb "Hail, 

Lord! we now are free!" 



1 Swing right hand from left shoulder across body to extreme right. 
2 Two hands extended in front downward — look downward. 3 Right hand 
to the side of head. 4 Clasp the hands under chin. 5 Place right hand 
on left shoulder and crouch. 6 Clasp hands — look up — advance. 7 Swing 
right hand to right and left hand to left alternately — with palms out. 
8 Point upward. 9 Advance to front — look up — clasp the hands upward. 
10 Step back — cross hands on breast. 1X Throw hand from breast outward 
— step with the gesture. 12 Point down. 13 Great dejection. 14 Hands as 
in No. 13 hand plate — shake the head. 15 Look up — hands extended to 
heaven. 



148 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



58-PADDLE YOUR OWN CANOE. 



Anonymous. 



DIDAC- 
TIC. 



Voyager 1 upon Life's sea, to your own 2 self be 

true, 
And, where'er 3 your lot may be, *"Paddle your 

own canoe!" 
5 Never, though the winds may rave, falter or 

look back; 
But upon the darkest wave leave a shining 

track ! 



Nobly 6 dare the wildest storm, 7 stem the hardest 

gale; 
8 Brave of heart and strong of arm, you will never 

fail. 
When the world is cold and dark, keep an aim 

in view; 
And, toward the beacon-mark, ^'Paddle your 

own canoe r 



Every wave that bears you 10 on to the silent 

shore, 
From its sunny source has gone, to return no 

more: 
Then | let not an hour's delay cheat you of 

your due; 
But, while it is called to-day, n "Paddle your own 

canoe l" 



ADVICE. 



If your birth denied you wealth, lofty state 

and power, 
Honest fame and hardy health are a better 

dower : 
But, if these 12 will not suffice, golden gain 

pursue : 
And, | to gain the glittering prize, 13 "Paddle 



your own canoe J 



PADDLE YOUR OWN CANOE. 



149 



EMPHA- 
SIZE. 



Would you wrest the wreath of fame from the 

hand of fate? 
Would you 14 write a deathless name with the 

good and great ? 
Would you bless your fellow-men? 15 Heart and 

soul imbue 
With the holy task, and then 1Q "Paddle your 

own canoe r 



Would you 17 c?*ush the tyrant wrong, in the 

world's free fight? 
With a spirit brave and strong, battle for the 

right : 
And to break the chain | that binds the many 

to the few — 
18 To enfranchise slavish minds? — 19 "Paddle your 

own canoe!" 

Nothing great 20 is lightly won, nothing won | 

is lost; 21 

moral. Every good deed, nobly done, will repay the cost : 

22 Leave to Heaven, in humble trust, all you will 

to do; 

But, if you succeed, you must 23 "P addle your 

OWN CANOE V 



1 Hand as in No. 2 hand plate. 2 Bring hand gracefully to breast. 
s No. 12 hand plate — walk to the left three steps. * Slightly wave the hand 
up and down — palm down. 5 Shake the finger in warning. 6 Send right 
hand from chest upward — step to the right. 7 Both hands No. 6 hand 
plate. 8 Hand on heart — chest out — head back. 9 Same as 4 . 10 No. 6 
arm plate. u Same as 4 . 12 No. 5 arm plate. 13 Same as 4 . 78 Hand in 
front of face — action of writing. 15 Hand on breast — advance. 16 Same 
as 4 . 17 Strongly send clinched hand down from head. 18 Touch fore- 
head. 19 Same as 4 . 20 No. 12 hand plate. 21 Repeat 20 . 22 Point upward. 
23 Same as 4 . 



150 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



59-SOMEBODY'S DARLING. 



SYMPA- 
THY. 



ORDI- 
NARY 
TONE. 



REVERENT. 



SLOW. 



Mrs. Lacoste. 



Into a ward 1 of the whitewashed halls, where 2 
the dead and dying lay, — wounded by bayonets, 
shells, and balls, — Somebody's Darling was borne 
one day: Somebody's Darling, so young and so 
brave, wearing yet, — on his pale sweet face, soon 
to be hid by the dust of the grave, — the lingering 
light of his boyhood's grace. 

3 Matted and damp are the curls of gold, kiss- 
ing the snow of that fair young brow; pale 4 are 
the lips of delicate mould — Somebody's Darling 
is dying now! Back from his beautiful blue- 
veined brow 5 brush all the wandering waves of 
gold; 6 cross his hands on his bosom now. . . . 
Somebody's Darling is still and cold! 

7 Kiss him once | for Somebody's sake, murmur 
a prayer soft and low; one bright curl from its 
fair mates take — they were Somebody's pride, you 
know : Somebody's hand had rested there ; was it a 
mother's 8 soft and white? And have the lips of 
a sister fair been baptized in these waves of light ? 

9 God knows best! He had Somebody's love; 
Somebody's heart 10 enshrined him there; Some- 
body wafted 11 his name above, night and morn, 
on the wings of prayer. Somebody wept when he 
marched 12 away, looking so handsome, brave, and 
grand; Somebody's kiss on his forehead lay, Some- 
body clung 13 to his parting hand. 

Somebody's waiting and watching for him — 
14 yearning to hold him again to her heart ; — 15 and 
there he lies with his blue eyes dim, and the smil- 
ing childlike lips apart! Tenderly bury 16 the 
fair young dead, pausing | to drop on his grave | 
a tear; carve on the wooden slab at his 17 head, — 
"Somebody's Darling slumbers here/' 



1 Turn to right — right hand out. 2 Both hands as in No. 2 arm 
plate — keep position until period. 3 Look downward — run the fingers 
through the hair. 4 Bend down and point down. 5 Action of brushing 
hair back from forehead — bend down. 6 Cross your hands. 7 Throw kiss 
downward. 8 No. 3 hand plate. 9 Clasp hands as in No. 13 hand plate — 
shake head sorrowfully. 10 Hand on heart. u Wave hand upward. 
12 Sweep hand to the right. 13 Stand erect — shake head proudly — hand 
out. "Hands as in No. 14 hand plate. 16 Point down. "Arms down — 
hands together in front — head down. 17 Point in front. 



PAPA'S LETTER. 



151 



CHILD'S 
DIA- 
LECT. 



60-PAPA'S LETTER. 

Anonymous. 
I was sitting in my study, writing letters; 

when I heard, 
^Please, dear mama, — Mary told me mami 

mustn't be 'isturbed. 
But Fse 2 tired of little kitty, want some ozzer 

fing to do : 
Writing letters, is 'ou, mama? 3 tan't I wite a 

letter too?" 
"Not now, darling, mama's busy; 4 run and 

play with kitty, now." 
"No, no, mama; 5 me wite letter; tan, if 'ou 

will show me how." 



I would paint my darling's portrait as his sweet 

eyes searched my face — 
6 Hair of gold, and eyes of azure, form of childish, 

witching grace. 
But the eager face was clouded, as I slowly 

shook my head, 
Till I said, "I'll make a letter of you, darling 

boy, instead." 
7 So I parted back the tresses from his forehead 

high and white, 
And a stamp | in sport 8 I pasted, 'mid its waves 

of golden light. 



PLEAS- 
ANT. 



Then I said, "Now, little letter, 9 go away and 

bear good news." 
And I smiled | as down 10 the staircase clattered 

loud the little shoes. 
Leaving me, the darling hurried down to Mary 

in his glee; 



152 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

"Mama's witing 11 lots of letters; Yse a letter, 

Mary,— see/" 12 
No one heard the front door open; no one saw 

the golden hair, 
13 As it floated o'er his shoulders | in the crisp 

October air. 



EARNEST. 



Down the street 14 the prattler hastened, till 

he reached the office-door: 
15 "Fse a letter, Mr. Postman; is there room for 

any more? 
'Cause dis letter's doin' to papa, papa lives with 10 

God, 'ou know, 
Mama tamped me — I'm a letter; does 'ou fink 

'at I tan go ?" 
But the Clerk in wonder answered, "Not to-day, 

my little man." 
17 "Den I'll find anozzer office, 'cause I must do, 

if I tan." 



LOVD. 



Fain the Clerk would have detained him, but 

the pleading face was 18 gone, 
And the little feet were hastening, — by the busy 

ciowd swept on. 
19 Suddenly the crowd was. parted, — people fled to 

left and right, 
^As a pair of maddened horses at the moment 

dashed in sight ! 
No one saw the baby figure, — no one saw the 

golden hair, 
Till | a shriek of childish terror | rang 21 out 

on the autumn air! 



'Twas too late ! — a moment only | stood the 

beauteous vision there ; 
Then ^the little face lay lifeless, covered o'er 

with goldep hair ! 



THE UNHAPPY MAN. 



153 



OBSERVE 
GRAM- 
MATI- 
CAL 

PAUSES. 



^Reverently the}' raised my darling, brushed away 

the curls of gold; 
Saw the 24 stamp, upon the forehead growing 

now so icy cold. 
Xot a mark the face disfigured, showing where 

a hoof had trod; 
But the little life was ended,— "Papas letter" 2 * 

was with God. 



1 Look up pleadingly. 2 Impatient wave of the hand. s Hand on 
breast. i Wave him away with left hand. 5 Place hand upward as if 
on her arm. 6 Stroke the hair — send hand down. T Action of pushing 
hair back from his forehead. 3 Action of wetting stamp and pasting it 
on his forehead. 4 Waving him away with left hand. lu Point downward 
—make quick short movement with both hands, imitating the patter 
of feet. 1X Both hands, falling movement as in No. 3 arm plate. 12 Point 
to forehead. 13 Send hand from head to the shoulder. 14 Point in front. 
15 Point to forehead. 16 Point upward. 1T Turn to left — take three steps. 
18 Swing arm to left. 19 Hands together in front — then send them apart. 
30 Step and point to front. 21 Advance — throw upward both hands. 
22 Bend, point and look down. 23 Action of raising him from the ground. 
24 Point downward. 25 Point up with reverent expression. 



61-THE UNHAPPY MAN. 

Anonymous. 
"He had faults, perhaps had many; but 1 one 

fault above them all 
Lav like heaAw lead upon him, tyrant of a 

patient thrall; 
Tyrant seen, confessed, and hated, 2 banished 
only to recall." 



IXTER- 
RO&A- 
TIYE 
AXD 
DE- 
CIDED 
RE- 
PLIES. 



"Oh, 3 he drank?" "His drink was water." 
"'Gambled?' "No; he hated play." 

"Tlien, perchance, a tenderer 5 feeling led his 
heart and head astray?" 

"No; both honor and religion kept him in the 
purer way.'' 

"Then he scorned 6 life's mathematics? could 

not reckon-up a score? 
Pay his debts? or be persuaded two and two 

were always four?" 
"Xo; he was exact as Euclid, prompt and 

punctual, no one more." 



154 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

7 "0h, a miser r "No." "Too lavish?" "Worst 
of guessers, guess again." 

"No; I'm weary hunting failures. Was he 
seen 8 of mortal ken, 

Paragon of marble virtues, quite a model man 
of men?" 

9 "At his birth | an evil Spirit charms and spells 10 

around him flung, 
And, with well-concocted malice, laid a curse 

upon his tongue; — 
Curse that daily made him wretched, earth's 

most wretched sons 11 among. 

"He could 12 plead, expound, and argue, fire with 

wit, with wisdom glow; 
13 But one word for ever failed him, source of all 

his pain and woe: — 
Luckless man! he could not say it, could not. 

dare not, answer | No !" u 



1 No. 12 hand plate. 2 No. 5 arm plate — one arm. 3 Hands behind 
back — nod the head. 4 Repeat the same. 5 Place hand on heart — bow 
and smile. 6 No. 2 hand plate. 7 Take two steps to left and turn back 
quickly. 8 Both hands extended — palms up — look of inquiry. 9 Point the 
finger downward twice quickly. 10 Hands up — palms out — turn from side 
to side. 1X Send hands from forehead downward. 12 Position of right 
hand as in No. 1 hand plate — emphasize by this gesture the three follow- 
ing words. 1? Step forward and point outward. 14 Strike left palm with 
right fist. 



THE DESERTER. 



155 



MANLY 
TONE. 



CANDID. 



SLOW. 



62-THE DESERTER. 

Bayard Taylor. 
"Deserter!" Well, Captain, the word's abouc 

right, 
And it's uncommon queer I should run from a 

fight, 
Or the chance of a fight : I, raised in the land 1 
Where boys, you may say, 2 are born | rifle in 

hand; 
And who've fought all my life for the right of 

my ranch, 
With the wily Apache and the cruel Comanche. 

But it's true, and I'll own it, 3 I did run away. 
"Drunk?" No, sir! I'd not tasted a drop ail 
day; 
4 But — smile if you will — I'd a dream in the night, 
5 And I woke, in a fever of sorrow and fright, 
And went for my horse; then up and away: 6 
And I rode like the wind till the break of the 
day. 

"What was it I dreamt ?" I dreamed 7 | of my 

wife — 
The true little woman that's better than life — 
8 I dreamt of my boys — I have three — one is 
ten, — 
The youngest is four — all brave little men — 
9 Of my one baby girl, my pretty white dove ! 
The star of my home, the rose of its love ! 

10 I saw the log-house on the clear San Antone, 
And I knew that around it the grass had been 

mown; 
For I felt, | in my dream, | the sweet breath 

of the hay — 
I was there, for I lifted a jessamine spray ; 



156 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

And the dog that I loved | heard my whispered 

command, 
And whimpered/ 1 and put his big head in my 

hand. 



ENTREAT- 
ING. 



12 The place was so still ! all the boys were at rest ; 
And the mother lay dreaming, 13 the babe at 

her breast: 
I saw the fair scene for a moment; then . u . 

stood 
In a circle of flame, amid shrieking and blood ! 
The Comanche had the place! — 15 Captain, spare 

me the rest; 
You know what that means, for you come from 

the West. 



16 I woke with a shout, and I had but one aim — 

17 To save or revenge them ! — my head was aflame. 

And my heart had stood still; I was mad/ 8 

I dare say, 
For my horse fell dead at the dawn of the day ; 
Then | I knew what Fd done; and, with heart- 
broken breath, 
When the boys found me out, 19 I was praying 
for death. 



SLOW. 



20 "A pardon r No, Captain, I did run away, 
And the wrong to the flag it is right I should 

pay 

With my life. It is not hard to be brave 
When one's children and wife have gone over 

the grave. — 
21 "Boys, take a good aim! When I turn to the 

West 
Put a ball through my heart ! it is kindest and 

best." 



23 



He lifted 22 his hat to the flag — bent his head 
solemn. And the prayer of his childhood | solemnly 

said — 



THE POLISH BOY. 



157 



LOW. 



loud. Shouted: "Comrades, adieu !" — 24 spread his 

arms to the West — 
And a rifle-ball instantly granted him rest. 
But o'er his sad grave by the Mexican sea, 
Wives and mothers have planted a blossoming 

tree, 
And maidens bring roses, and tenderly say, 
25 "It was love — sweetest love — led that soldier 
awa}\" 
■ • 

1 Raise right arm as in No. 1 arm plate. 2 Hand extended as hold- 
ing rifle. 3 Hands on hips — shake head. 4 No. 1 hand plate. 5 Rub eyes 
and look around. 6 Step quickly to left — swing out left arm carelessly. 
7 Speak slowly whilst rubbing forehead. 8 Indicate how tall they are. 
9 Fold the arms — head on breast. 10 Point front — hold for four lines. 
11 Action of patting dog on the head. 12 Hands out straight in front — 
palms down. 13 No. 14 hand plate. 14 Describe a circle about you. 
15 Advance — clasp hands — look appealingly at Captain. 16 Step to front 
— throw up the arms. 17 Shake fist in front. 18 Both hands clutching 
hair. 19 Hands clasped — look up. 20 No. 6 hand plate. 21 Turn to right 
— stand very straight. 22 Action of raising hat. 23 Bend the head — 
clasp hands. 2i Open arms wide. 25 No. 1 hand plate. 



LOUD, 
DIRECT. 



QUES- 
TION- 
ING. 



63-THE POLISH BOY. 

Ann S. Stephens. 
(Abridged.) 

Whence 1 come those shrieks so wild and shrill, 
that cut like blades of steel, the air? causing 2 the 
creeping blood to chill with the sharp cadence of 
despair! Whence come they? 3 From yon 
Temple, where an altar, raised for private prayer, 
now forms the Warrior's marble bed, who War- 
saw's gallant armies led. The 4 dim funereal 
tapers | throw a holy lustre o'er his brow; and 
burnish, with their rays of light, the mass oi 
curls that gather bright above the haughty brow 
and eye of 5 yon young Boy that's kneeling by. 

What hand is that, whose icy press clings 6 to 
the dead with death's own grasp, but meets no 
answering caress? No thrilling fingers seek its 
clasp. It is the hand of her whose cry rang wildly, 
late, upon the air, when the Dead Warrior met 7 
her eye 8 outstretched upon the altar there. With 
pallid lip and stony brow she murmurs forth her 



158 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



STAC- 
CATO. 



SHRIEK- 
ING. 



BOLD. 



anguish now. . . . 9 But, hark! the tramp of 
heavy feet is heard along the bloody street ! — 
Nearer and nearer yet they come, with clanking 
arms and noiseless drum; now whispered curses, 
low and deep, around the holy Temple creep ! 
10 The gate is burst! a ruffian band rush in, and 
savagely demand, with brutal voice and oath pro- 
fane, the startled Boy for exile's chain. 

The Mother | sprang with gesture Avild ; n and to 
her bosom clasped her child: — 12u Back, ruffians, 
lack! nor dare to tread too near the body of my 
dead, nor touch my living boy ! / stand between 
him and your lawless band. Take me, and bind 
these 13 arms — these hands, — with Eussia's heaviest 
iron bands; or drag me to Siberia's wild | to 
perish, if 'twill save my child!" 

14 "Peace, woman, peace !" the Leader cried, 
15 tearing the pale Boy from her side; and in his 
ruffian grasp he bore his victim to the Temple 
door: — 16 "One moment!" shrieked the mother; 
"one ! Will land or gold redeem my son ? Take 
heritage, take name, take all, but leave him free 
from Bussian thrall ! 17 Take these !" and her 
white arms and hands she stripped of rings and 
diamond bands, and tore from braids of long black 
hair the gems that gleamed like starlight there; 
her cross of blazing rubies, last, down at the Bus- 
sian's feet she cast. — 18 He stooped to seize the 
glittering store: 19 up-springing from the marble 
floor, the Mother, with a cry of joy, snatched to 
her leaping heart the Boy ! But no ! the Eus- 
sian's iron grasp again undid the Mother's clasp. 
20 Forward she fell, — with one \ long \ cry of more 
than mortal agony ! 

But the brave child is roused at length, and, 21 
breaking from the Eussian's hold, he stands, a 
giant | in the strength of his young spirit, fierce 
and bold : — "Ye hold me not ! no, no, nor can ; 
this hour has made the boy \ a 22 man! I knelt 
beside my slaughtered Sire, nor felt one throb of 
vengeful ire; I wept 23 upon his marble brow, — 
yes, wept, — I was a child; but now my noble 



THE POLISH BOY. 



159 



LOUD. 



PATHET- 
IC. 



Mother on her knee has done the work of years 
for me!" 

24 He drew aside his broidered vest, and there, 
like slumbering serpent's crest, the jewelled haft 
of poniard bright glittered a moment on the sight. 
"Ha! start ye back? 25 Fool! coward! knave! 
Think ye my noble father's glaive could drink 
the life-blood of a slave? The pearls that on the 
handle name would blush to rubies in their shame : 
the blade would quiver in thy breast, — ashamed 
of such ignoble rest ! No ; thus I rend thy tyrant's 
chain, and fling him back 26 a boy's disdain !" 

A moment and the funereal 27 light flashed on 
the jewelled weapon bright; another, and his 
young heart's 28 blood leaped to the floor — a crim- 
son flood ! Quick to his Mother's side he sprang, 
and on the air his clear voice rang: — 29 "Up, 
Mother, up ! I'm free ! I'm free ! The choice was 
death or slavery ; up ! Mother, up ! look on my 
face, I only wait for thy embrace. One last, last 
word, — a blessing, one, to prove thou know'st what 
I have done! No look? no word? Canst thou 
not feel my warm blood o'er thy heart congeal? 
Speak, Mother, 30 speak, — lift up thy head. What ! 
silent still? Then | art thou dead! . . . 
31 Great God, I thank thee! Mother, I rejoice, — 
with thee and thus, — to die." 32 Slowly he falls: 
the clustering hair rolls backhand leaves that fore- 
head bare; 33 one long, deep breath, and his pale 
head lies on his Mother's bosom . . . dead ! 



1 Step forward — hand behind ear. 2 Both hands on breast. 3 Point 
front. 4 Hands to front — fingers pointing outward. 5 Point downward. 
6 Hand out and clinched. 7 Point front. 8 Point downward. 9 Step to 
left — hand behind ear — listening. 19 Step forward, making a loud stamp — ■ 
wrench hands apart quickly. 1X Run three steps to left — clasp arms over 
breast. 12 Look and extend left arm to left. 13 Both hands on breast- 
still looking left. 14 Turn right— raise right hand. 15 Advance hand to 
right — close fingers and draw arm quickly back. 16 Run three steps to 
left — arms extended. 1T Touch hands — neck — hair — throw the hand down- 
ward. 18 Stoop to pick up. 19 Advance — clasp arms over breast. 20 No. 3 
arm plate — both hands. 21 Throw both arms apart — then fold them — 
stand erect — look to left. 22 Touch breast — then raise finger of right 
hand over head. 23 Drop both hands in front — look down. 2i Action of 
opening vest. 25 Step back — laugh — shake left hand at left. 26 Throw hand 
scornfully to /eft. 27 Both hands extended to front — fingers pointing 
outward. 28 Bring hands from breast quickly downward. 29 Kneel— bend 
down — hands extended downward. 30 Clasp hands. 31 Strike palms to- 
gether — look up— still kneeling. 32 Point downward — stand up. 33 Hand 
on breast, then point down. 



160 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



FULL 
MOD- 
ERATE 
VOICE. 



64-ADIEUX DE MARIE STUART. 

Adieu, 1 charmant pays de France, 
Que je dois tant cherir ! 
2 Berceau de mon heureuse enfance. 
Adieu! te quitter, c'est mourir. 



Beranger. 



WITH 
AFFEC- 
TION. 



RATHER 
BRISK. 



3 Toi que j'adoptai pour patrie, 

Et d'ou je crois me voir 4 bannir, 
5 Entends les adieux de Marie, 

France, et garde son souvenir. 
6 Le vent souffle, on quitte 7 la plage; 

Et, peu touche de mes sanglots, 8 
9 Dieu, pour me rendre a ton rivage, 

Dieu n ? a point souleve les flots ! 



10 Adieu, charmant pays de France, 

Que je dois tant cherir ! 
11 Berceau de mon heureuse enfance, 
Adieu ! te quitter, c'est mourir. 



STRONGER. 



Lorsqu'aux yeux du peuple que j'aime, 

Je ceignis les lis eclatants, 
12 I1 applaudit au rang supreme 13 

Moins qu'aux charmes de mon printemps. 
14 En vain la grandeur souveraine 

M'attend chez le sombre Ecossais; 

Je n'ai desire d'etre 15 reine 
16 Que pour regner sur des Frangais. 



17 Adieu, charmant pays de France, 

Que je dois tant cherir ! 
18 Berceau de mon heureuse enfance, 
Adieu ! te quitter, c'est mourir. 



LOUD. 



1% Uamour, | la gloire | le 
Ont trop enivre mes beaux jours; 
Dans Tinculte Caledonie 
De mon sort va changer le cours. 




ADIEUX DE MARIE STUART. 

(See page 160. ) 



ADIEUX DE MARIE STUART. 161 

20 Helas ! un presage terrible 
fear. Doit livrer mon 21 cceur a l'effroi : 

J'ai cru voir, dans un songe horrible, 
Un echafaud dresse 22 pour moi. 

23 Adieu, charmant pays de France, 

Que je dois tant cherir ! 
24 Berceau de mon heureuse enfance, 
Adieu ! te quitter, c'est mourir. 

25 France, du milieu des alarmes, 
energy. 26 La noD i e fille des Stuarts, 

Comme en ce jour qui voit ses larmes, 
21 Vers toi tournera ses regards. 
^Mais, Dieu ! le vaisseau trop rapide 

Deja vogue sous d'autres cieux, 

Et la nuit, 29 dans son voile humide, 

Derobe tes bords a mes yeux ! 

g^2). m Adieu, charmant pays de France, 

Que je dois tant cherir ! 
31 Berceau de mon heureuse enfance, 
32 Adieu! te quitter, c'est mourir. 

1 Bring fingers from the lips out to right — then send hand to the 
breast — look to right. 3 Bend — both hands down — palms out. 4 Right 
hand to right — look to right — throw the head well back. 4 Swing left 
hand from breast to left — palm down. 5 Step to right — extend both 
arms appealingly. 6 Slightly wave the hand. 7 Right arm No. 5 arm 
plate. s Hand on breast. 9 Extend both hands upward — look up. 10 Re- 
peat *. 1X Repeat 2 . 12 Clap the hands. 13 Raise right hand as in No. 4 arm 
plate. 14 Drop the arm as in No. 3 arm plate. 15 Advance — raise right 
hand high — stand very erect and have a haughty bearing. 1G Repeat 15 . 
17 Repeat 1 . 1S Repeat -. 19 Right hand out — emphasize by gesture the 
three nouns of the line. 20 Drop hand — look dejected. 21 Hand on heart. 
22 Bring hand to breast. 23 Same as x . 24 Same as -. 25 No. 5 arm plate — 
both hands. 20 Spread fingers of rigbt hand on breast — dignified carriage. 
27 Turn to right and put out right hand. 2S Clasp hands and look up. 
29 Describe semi-circle above the head — palms out. 30 Same as 1 . 31 Same 
as 2 . 32 Throw kiss with right hand to the right. 



162 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

65-FRIEDE. 

Bodenstedt. 

Nun sind Stiirme 1 und G-ewolk zerstoben, 
Auf den blauen 2 Bergen blitzt der Schnee; 
Still, vom reinsten Morgenglanz umwoben, 
3 Euht die Welt — vergiss nun *Leid und Well. 
Friede ist im 5 Himmel und auf Erden, 
Friede 6 lass auch deinem Herzen werden. 

Aus dem Dorf am Bergsee klingt 7 Geldute, 
Auf den Wiesen glanzt der Morgenthau. 
Alles 8 ruht — der Tag des Herrn ist heute, 
Und kein 9 Wolkchen triibt das lichte Blau. 
Friede ist irn Himmel und auf Erden, 
Friede 10 lass auch deinem Herzen werden. 

Klage 11 nicht mehrl — Was du auch gelitten: 
Schuldlos 12 leiden viele mehr als du ! 
Keiner siegte noch, der nicht gestritten, 
Doppelt suss labt nach dem Kampf die Ruh. 
Friede ist im 13 Himmel und auf Erden, 
Friede 14 lass auch deinem Herzen werden. 



1 Hold out and up both hands — palms out — then gradually drop them 
in semicircular form. 2 Point upward to right — turn to the right. 3 Both 
hands extended — turn slowly to right and left sides whilst speaking line. 
4 Clasp hands — speak quietly and impressively. 5 Point upward, then 
downward. 6 Hand over heart. 7 No. 8 arm plate — left arm. 8 Hands 
out horizontally — slightly apart — palms down. 9 Look up. 10 No. 12 hand 
plate. X1 Use the falling movement of arms and hands as in No. 3 arm 
plate. 12 Raise both arms as in No. 1 arm plate. 13 Advance — point up- 
ward, then downward. 14 Right hand over heart. 



Part IL 
Selections of Prose, Dialogues and Dramatic Scenes* 



WELL 
SUS- 
TAINED 
VOICE. 



SLOW. 



66-FREEDOM AND PATRIOTISM. 

Orville Dewey. 

God | has stamped 1 upon our very humanity 
this impress of freedom. It is the unchartered 
prerogative of human nature. 2 A soul | ceases 
to be a soul, in proportion as it ceases to be free. 
Strip it of this, and you strip it of one of its 
essential and characteristic attributes. It is 
this 3 | that draws the footsteps of the wild Indian 
to his wide and boundless desert-paths, and makes 
him prefer them to the gay saloons and soft car- 
pets of sumptuous palaces. It is this that makes 
it so difficult to bring him within the pale of 
artificial civilization. Our roving 4 tribes are 
perishing — a sad and solemn sacrifice upon the 
altar of their wild freedom. 5 They come among 
us, and look with childish wonder upon the per- 
fection of our arts, and the splendor of our habi- 
tations: they submit with ennui and weariness, 
for a few days, to our burdensome forms and re- 
straints ; and 6 then | turn their faces to their forest 
homes, and resolve to push those homes onward 
till they 7 sink in the Pacific waves, rather than 
not be free. 

8 It is thus that every people is attached to its 
country, just in proportion as it is free. No 
matter if that country be in 9 the rocky fastnesses 
of Switzerland, amidst the snows 10 of Tartary, or 



164 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



RATHER 
QUICK. 



DEEP AND 
INTENSE. 



GRADU- 
ALLY IN- 
CREASE. 



on the most barren and lonely island-shore; no 
matter if that country be so poor as to force away 
its children to other and richer lands, for employ- 
ment and sustenance; n yet | when the songs of 
those free homes | chance to fall upon the 12 exile's 
ear, no soft and ravishing airs that wait upon 
the timid feastings of Asiatic opulence ever 13 
thrilled the heart with such mingled rapture and 
agony | as those simple tones. 14 Sad mementos 
might they be of poverty and want and toil; yet j 
it was enough that they were mementos of happy 
freedom. 

15 I have seen my countrymen, and I have been 
with them a fellow wanderer, in other lands; and 
little did I see or feel to warrant the apprehension, 
sometimes expressed, that foreign travel would 
weaken our patriotic attachments. One sigh 1G 
for home — 17 home, arose from all hearts. And 18 
why, | from palaces and courts — why, | from 
galleries of the arts, where the marble softens into 
life, and painting | sheds an almost living pres- 
ence of beauty around it — why, | from the moun- 
tain's awful brow, and the lonely valleys and lakes 
touched with the sunset hues of old romance — 
why, from those venerable and touching ruins to 
which our very heart grows — why, from all these 
scenes, were they looking beyond the swellings 
of the Atlantic wave, to a dearer and holier spot 
of earth — their own, own country? 19 Doubtless, j 
it was in part because it is their country ! But j 
it was also, as every one's experience will testify, 
because they knew that there was 20 no oppression, 
no pitiful exaction of petty tyranny; because that 
there, they knew, was no accredited and irresisti- 
ble religious domination; because that there, they 
knew, they should not meet the odious soldier at 
every corner, nor swarms of imploring beggars, 
the victims of misrule; that there no curse \ 
causeless did fall, and no blight, worse than 
plague and pestilence, did descend amidst the pure 
dews of heaven; because, in fine, that there, they 



NO NATIONAL GREATNESS WITHOUT MORALITY. 



165 



CLIMAX. 



knew was LIBERTY — upon all the green hills, and 
amidst all the peaceful villages — liberty, the wall 
of fire | around the humblest home; the crown of 
glory, 21 studded with her ever-blazing stars upon 
the proudest mansion ! 



1 No. 1 hand plate — stand erect — right foot advanced — slightly bend 
the knee — weight of body resting on left foot. 2 Bring hand to breast. 
3 No. 12 hand plate — use repeatedly this gesture until word "civilization" 
is spoken. * Point downward right hand. 5 No. 7 arm plate. c No. 8 
arm plate. 7 Turn right hand and point downward. 8 Both hands ex- 
tended till period. 9 Point upward. 10 Point and half turn body to 
right. X1 No. 1 hand plate. 12 Hand to ear. 13 Hand to heart. 
14 Slowly droop the hands — wrist movement. 15 Walk three steps to left — 
No. 1 hand plate. 16 Hand to breast. 17 Advance on right foot — point 
toe of left — elevate right hand. 18 Raise right hand higher than bead 
and shake the hand on the words "why" until "own — own country." 
19 No. 7 hand plate. 20 Bring hand down forcibly on the following em- 
phatic words until you reach the words "was liberty" — then elevate the 
hand — advance. 21 Still advanced — both arms extended upward and out- 
ward till finish. 



67-NO NATIONAL GREATNESS WITHOUT MORALITY. 



STRONG 
CARRY- 
ING 
VOICE. 



INTERROG- 
ATIVE. 



W. E. Charming. 
When %e look forward to the probable growth 
of this country; when we think of the 2 millions 
of human beings who are to spread over our 
present territory; of the career of improvement 
and glory open to this new people; of the im- 
pulse 3 which free institutions (if prosperous), 
may be expected to give to philosophy, | Reli- 
gion, | science, | literature, | and arts; of the 5 vast 
field in which the experiment is to be made, of 
what the unfettered powers of man may achieve; 
6 of the bright page of history | which our fathers 
have filled, and of the advantages | under which j 
their toils and virtues 7 have placed us for carry- 
ing on their work ; 8 when we think of all this, can 
we help, for a moment, surrendering 9 ourselves to 
bright visions of our country's glory, before which 
all the glories of the past 10 are to fade away? Is 
it presumption 11 to say, that, if just to 12 our- 
selves and all nations, we shall be felt through 



166 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



UPWARD 
INFLEC- 
TION. 



QUESTION- 
ING. 



CLIMAX. 



this 13 whole continent, that we shall spread our 14 
language, institutions, and civilization, through 
a wider space than any nation has yet filled with 
a like beneficent influence? And | 15 are we pre- 
pared to barter these hopes, this sublime moral 
empire, for conquests by force? 16 Are we pre- 
pared to sink to the level of unprincipled nations, 
to content ourselves with a vulgar, guilty great- 
ness, to adopt in our youth | maxims and ends 
which must brand our future with 17 sordidness, 
oppression and shame? This country 18 cannot 
without peculiar infamy run the common race of 
national rapacity. Our ^origin, institutions, 
and position are peculiar, and all favor an up- 
right, | honorable course. We have not the apolo- 
gies of nations hemmed in by narrow bounds, or 
threatened | by the overshadowing power of am- 
bitious neighbors. 20 If we surrender ourselves to 
a selfish policy, we shall sin almost without temp- 
tation, | and forfeit opportunities of greatness | 
vouchsafed to no other people, for a prize 21 below 
contempt. 

I have alluded to the want of wisdom | with 
which we have been accustomed to speak of our 
destiny as a people. We are "^destined (that is 
the word), to 23 overspread North America; and 
24 intoxicated with the idea, it matters little to 
us | how we accomplish our fate. 25 To spread, | 
to supplant others, | to cover a | boundless space, 
this seems our ambition, no matter what influence 
we spread with us. 2G Why | cannot we rise to 
noble conceptions of our destiny? Why \ do we 
not feel, that our work as a nation is, to carry 
freedom, religion, science, and a nobler form of 
human nature over this continent? and why do 
we not remember, that to diffuse these blessings j 
we must first | cherish them in our own borders; 
and that whatever deeply and permanently cor- 
rupts us | will make our spreading influence a 
curse, | not 27 a blessing, to this new world ? I am 
not prophet enough to read our fate. I believe,, 



TRUE GRANDEUR OF NATIONS. 



167 



SPEAK 
SLOWLY. 
LOUDLY, 



indeed, that 2S we are to make our futurity for our- 
selves. I believe, that a nation's destiny lies in its 
character, in the principles which govern its policy, 
and bear rule in the hearts of its citizens. I take 
- 9 my stand on God's | moral \ and eternal law. 
A nation, renouncing and defying this, cannot 30 j 
be free, | cannot be great. 



1 No. 1 hand plate — stand firmly — eyes well opened and directed to 
front. 2 Same as \ but with both hands. 3 Send hand from breast out- 
ward. 4 No. 7 hand plate. 5 Open the arms as in No. 5 arm plate. 6 No. 
4 hand plate. T Both hands to breast. 8 No. 5 arm plate — both hands. 
* Wave hands toward body. 10 Turn palm outward and swing slowly 
hand to right. u Turn to the right — gesture No. 12 hand plate. 12 Touch 
breast. 13 No. 5 arm plate — both hands. 14 Hands and arms horizontal 
in front — palms down — spread them apart. 15 No. 12 hand plate — step 
to the left. 16 Point downward — head thrown back. 17 Left hand on 
hip — waving right hand upward and downward. 1S Advance to front — 
both arms out. 19 No. 1 hand plate — bring hand downward movement 
on italicized words. 20 Both hands out — turn to left. 21 No. 2 arm plate. 
-- No. 4 arm plate. 23 Send both out to right and left. 2 * Touch fore- 
head. 25 Both hands out — No. 5 arm plate. 26 No. 1 hand plate — on the 
words "why" turn alternately to right and left — kept up till "our own 
border." :T Bring fist down forcibly. "Point upward in front. 29 No. 
4 arm plate, but raise hand higher. 30 Advance — same gesture as 3 * — 
shake the hand till end. 



LOUDLY. 

COXYER- 
8A- 

TIOXAL. 



APPEAL- 
IX G. 



68 -TRUE GRANDEUR OF NATIONS. 

Charles Sumner, 
Casting our eyes over the history of nations, 
with horror we discern | the succession of murder- 
ous slaughters, by which their progress has been 
marked. 1 Even | as the hunter traces the wild 
beast, when pursued to his lair, by the drops of 
blood on the earth, so we follow thqa\, 2 weary, \ 
staggering with wounds, | through the black forest 
of the past, which he has reddened with his gore. 
B 0, let it not be in the future ages, as in those 
we now contemplate ! Let 4 the grandeur of man 
be discerned, not in bloody victories, or in rav- 
enous conquests, but | in the blessings 5 which he 
has secured; in the G good he has acomplished; in 
the triumphs of benevolence and justice; in the 
establishment 7 of perpetual peace. 



168 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

simile. As the ocean 8 washes every shore, and, with all 

embracing arms, clasps every land, while, on its 
heaving bosom, it bears the products of various 
climes; so 9 peace | surrounds, protects, and up- 
holds all other blessings. 10 Without it, commerce 
is vain, the ardor of industry is restrained, justice 
is arrested, happiness is blasted, virtue | sickens 
and dies. 

n And peace | has its own peculiar victories, in 
comparison with which | Marathon and Bannock- 
burn and Bunker Hill, fields sacred in the history 
of human freedom, shall lose 12 their lustre. 
13 Our own Washington \ rises to a truly heavenly 
stature, — not 1 * when we follow him over the ice of 
the Delaware to the capture of Trenton, — not 15 
when we behold him victorious over Cornwallis at 
Yorktown, — but | when 16 we regard him in noble 

loud deference to justice, refusing the kingly crown 

which a faithless soldiery proffered, and, at a later 
day, 17 upholding the peaceful neutrality of the 
country, while he received | unmoved | the clamor 18 
of the people wickedly crying for war. 



1 Point downward in front. 2 Both hands as in No. 1 hand plate — ■ 
wave them twice up and down. 3 Clasp hands under chin. * Open arms 
widely. 5 Point upward and turn slightly looking around. 6 Same. 7 Same. 
8 Wave both hands outward — palms down. 9 Turn palms up — same ges- 
ture as 8 . 10 No. 12 hand plate — touch left palm with right hand on 
emphatic words till period. X1 Both hands — No. 5 arm plate — take two 
steps backward. 12 Wave right hand to right — palm outward — turn face 
to left. 13 Advance — point upward — wait for applause. 14 Point to left. 
13 Hand to right. 16 Quickly raise right hand. 17 Wave upward and out- 
ward both hands. 18 Shake fist. 



69-ACQUISITION OF TERRITORY. 

J. W. Miller. 
In consulting the history of nations, it will be 
found J there 1 is an epoch in the existence of each, 
when a temptation presents itself, which | re- 
sisted or yielded to, marks the future character 
of the nation | for good or for evil. That tempta- 
tion is now presented to this republic 2 — it is 



ACQUISITION OF TERRITORY. 



169 



MODERATE. 



INCREASED 
TONE. 



LOUD. 



DO NOT 
DRAG. 



Mexico. It is 3 a broad and a rich land — a land of 
silver and gold — a land without a government to 
protect it, and without a people capable of de- 
fending it, and it lies 4 before us an easy \ tempt- 
ing prey. There is 5 none to stay our hand, or to 
resist the gratification of our ambition. The 
mystery of her origin, the story of her former 
conquest, | play 6 upon our fancy and excite our 
heroic passions. Already has the tempter 7 carried 
us to the pinnacle of the temple and points out 
the rich treasures of the city beneath. We now 
stand 8 upon the high mountain — at our 9 feet | lie 
twenty states, with their cities and towns, their 
temples of religion, and palaces of state. The 
tempter 10 whispers in our ear, all these shall be 
}^ours if you will fall down and worship the God 
Conquest. History stands ready with her 11 pen of 
steel to record our determination. 12 Shall we bow 
down to the evil spirit, and fall as other nations 
have fallen, or shall we maintain our virtue and 
rise to godlike courage and say, 13 "Get thee be- 
hind me, Satan." The temptation is mighty — 
the power to resist | only divine. I know 14 of no 
nation, in ancient or modern times that would 
resist so easy, yet so rich, an acquisition to its do- 
minions. To say nothing of the heathen world, 
not one 15 of the powers of modern Europe | would 
withstand the temptation. 1Q England would not, 
as she has shown by her conquests in the East. 
France 17 would not, as she is now proving by her 
attempts upon Algeria. As to 18 Russia, Prussia, 
Austria, let the partition of Poland answer. There, 
19 too, is old Spain, once | the proudest and might- 
iest of them all; she has also had her temptation. 
It was this same 20 Mexico which now fascinates us. 
21 Allured by its mines of silver and gold, which 
now entice us — excited by the spirit of propa- 
gandism, which now inspires us, she too 2s yielded 
to the tempter, and for a while she went on from 
conquering to conquer, until in her turn, she was 
made to lick 24 the dust beneath the chariot wheels 



170 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



FULL 
TONE. 



INTENSE. 



of that false deitv | she had worshipped, when 
that chariot 25 rolled in triumph over the fair fields 
of Arragon and Castile. No, 2Q sir, | I can find no 
example of this high standard of national virtue 
and forbearance. If we resist this temptation, 
we shall set an example 27 to the world. 28 0urs 
the wisdom, ours the virtue, ours the glory, of 
forbearing to seize upon the territory of a weak and 
defenceless neighbor, when we had the oppor- 
tunity and the excuse of doing so. We have al- 
ready, | in our short history, | set 29 one great ex- 
ample to the nations of the earth. We have laid 
the 30 foundation of a mighty empire, deep and 
strong, upon a principle new and startling to the 
Old World. We have established 31 self-government, 
and bound in strong and happy union, twenty 
millions of freemen, who acknowledge no gov- 
ernment, but that of their 32 own choice. Let us 
now establish another principle of national action, 
equally new and startling. Let 33 us declare | that 
while we admit the oppressed of every land, 34 to a 
free participation of the blessings of our self- 
government, 35 no cause of war, no excuse, no tempt- 
tation will induce us to conquer a nation by war, 
for the purpose of 36 subjugating its territory and 
people to our dominion. 



1 No. 7 hand plate. 2 Drop the hand. 3 Outward both hands — No. 5 
arm plate. 4 Spread out both hands palms down. 5 No. 3 arm plate — 
falling movement of hand. 6 Touch right temple — wave hand outward. 
7 Wave hand from breast upward — advance to right. 8 Both hands out — ■ 
look from side to s'.de. 9 Point downward. 10 Send fingers from lips 
outward. " Fingers of right hand held out as if grasping pen. 12 Hand 
to breast- — bow head. 13 Throw hand to right strongly 14 turn head and 
body to left. 15 Shake index finger at audience. 16 No. 1 hand plate — turn 
to the right. 17 Same gesture to the left. 18 Both hands to the front. 
19 Slowly nodding head. 20 No. 12 hand plate — take three steps to right. 
21 Bend head slightly — wave both hands from forehead outward. 2 * No. 8 
arm plate. 24 Shake right hand — pointing downward. 25 Make a circular 
movement with hand. 26 Strike right fist into left palm. 27 Both arms 
spread out. 28 Touch breast on the words "Ours." 28 Shake index finger 
three times in front. 30 Point downward. 31 No. 1 hand plate — advancing. 
32 Hand on breast. 33 Raise right hand — palm out. 34 Both arms out — 
palms up. 35 Bring right fist down forcibly. 36 Shake fist to the front. 



LIBERTY AND DESPOTISM. 171 

70-LIBERTY AND DESPOTISM. 

Be Witt Clinton. 
In revolutionary times 1 | great talents and great 
virtues, as well as great vices and great follies 
spring into being. The energies of our 2 nature 

V °full are P 11 ^ m ^° requisition, and | during the whirl- 

wind and the tempest, innumerable evils will be 
perpetuated. But | all the transient mischiefs 
of revolution are mild 3 when compared with the 
permanent calamities of arbitrary power. The 
one | is 4 a sweeping deluge, an awful tornado, 
which quickly passes away ; but the 5 other | is a 
volcano, continually ejecting rivers of lava — an 

loud. earthquake | burying whole countries in ruin. 

6 The alleged inaptitudes of man for liberty is the 
effect of the oppressions which he has suffered 1 1 
and until a free government can shed its pro- 
pitious influence over time — until perhaps, a new 
generation 7 has risen up under the new order of 
things, with new habits and new principles, | so- 
ciety | will be in a state of agitation and mutation ; 
8 faction will be the lord of the ascendant, and 
frenzy and fury, \ denunciation and proscription, 
will be the order of the day. The dilemma is 
inevitable. Either the 9 happiness of the many | 
or the predominance of the few | must be sacri- 
ficed. The flame 10 of liberty and the light of 
knowledge emanate from the same sacred fire, and 
subsist on the same element; and the seeds of 
instruction widely disseminated will, | like the 
serpent's teeth, in the pagan mythology, 11 that 
were sown into the earth, rise 12 up | against op- 
pression | in the shape of the iron men of Cadmus. 
In such a case | who can hesitate to make an 
election ? 13 The spirit of a Eepublic is the friend, 
and the genius of a monarchy is the enemy of 
peace. 14 The potentates of the earth have, for 
centuries back, maintained large standing armies, 
and, on the most frivolous pretexts, have created 
havoc and desolation. And | 15 when we compare 



172 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



FORCE 
IN- 
CREASED. 



STRONG. 



the world as it is | under arbitrary power, with the 
world as it 16 was | under free republics, what 17 an 
awful contrast does it exhibit ! 18 What a solemn 
lesson does it inculcate ! The ministers of famine 
and pestilence, of death and destruction, have 19 
formed the van and brought up the rear of des- 
potic authority. The monuments 20 of the arts, | 
the fabrics of genius and skill, | and the sublime 
erections of piety and science, have been 21 pros- 
trated in the dust; the places 22 where Demos- 
thenes and Cicero spoke, | where Homer and Vir- 
gil sang, | and where Plato and Aristotle taught, j 
are now 23 exhibited | as mementoes of the perish- 
able nature of human glory. The forum 24 of 
Eome is converted into a market for cattle; the 
sacred fountain of Castalia 25 is surrounded, not 
by the muses and graces, but | by the semi-barbar- 
ous girls of Albania; the laurel groves, and the 
deified 26 heights of Parnassus, are the asylum of 
banditti; Babylon can only be traced by its bricks ; 
the sands of the 27 desert | have overwhelmed 28 the 
splendid city of Palmyra, and are daily encroach- 
ing on the fertile territories of the Nile; and the 
malaria has 29 driven man from the fairest 
portions of Italy, and pursued 30 him to the very 
gates of the Eternal City. 



1 No. 1 hand plate — right foot advanced. 2 Hand to the breast. 
3 No. 5 hand plate — slightly bow the head. Send left arm from breast 
outward quickly. 5 Raise quickly right arm as in No 1 arm plate. ° Touch 
left palm with right index finger. 7 Put out right hand — then elevate it. 
8 No. 7 hand plate — and shake finger on the following emphatic words. 9 Both 
hands extended — earnest expression on face 10 No. 12 hand plate. " Point 
downward. 12 Raise both hands as in No. 1 arm plate. 13 Left hand out 
turn to left and take three steps. 14 Both hands extended — bend toward 
audience. 15 No. 2 hand plate. 1C Repeat same. 17 Throw both hands 
from the face outward. 18 Clasp hands. 19 Point in front with left hand. 
20 No. 4 arm plate. 21 Point downward. 22 Cross back to center holding 
out right hand — pointing. 23 Open both arms. 24 Point front. 25 Both 
hands extended. 2t! Point upward. 27 Point downward. 28 Cross both 
hands in front then sweep them to the sides outward. 29 Touch left 
shoulder with right hand then wave it to right. 30 Advance — shake finger — 
arn? straight. 



THE SABBATH. 



173 



THE SABBATH. 



T. Frelinghuysen. 



DIGXITY. 



RATHER 
SLOW. 



PERSUA- 
SIVE. 



Mr. President — The Sabbath 1 was made for 
man — not to be contemned and forgotten — the 
constitution of his 2 nature requires just such a 
season. It is identified with his pursuits, and his 
moral tendencies. God 3 has ordained it in infi- 
nite benevolence. The reason for its institution, 
as recorded in His Word, was His 4 own example. 
It began with creation. The first week of time 
was blessed with a Sabbath. The 5 garden of Eden 
would not have smiled in all its loveliness, had 
not the light of this day shone upon it. 6 Blot it 
out, | and the hope of the world is extinguished. 
When the whirlwind raged in France, how was it, 
sir? 7 They could not carry their measures of 
ferocity and blood, while this last palladium of 
virtue remained. Desolation 8 seemed to pause in 
its course, its waves almost subsided: when the 
spirit of evil | struck this hallowed day 9 from the 
calendar, and enacted a decade to the Goddess of 
.Reason — after which the besom 10 swept all before 
it. 

Our own 11 experience must satisfy us | that it 
is essential to the welfare of our condition. 12 Put 
the mind to any action of its powers — let its 
energies be exerted incessantly, with no season 
for abstraction and repose, | and it would very 
soon sink 13 under a task | so hostile to its nature : 
it would wear out in such hard service. So | let 14 
the pursuits of business constantly engage our 
speculations, and the whole year become one un- 
varied calculation of profit and loss, with no Sab- 
bath to open an hour | for the return of higher 
and nobler feelings, and the heart will become 
the victim of a cold and debasing selfishness, and 
have no greater susceptibility than the nether 
mill-stones. 15 And if [ in matters that are law- 
ful, such consequences would ensue, what will be 
the results of a constant, unbroken progression in 



174 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



STRONG. 



LOFTY. 



vice? Sir, 16 I tremble at the prospect for my 
country. If this barrier against the augmenting 
flood of evil be prostrated, 17 all your penalties and 
prisons will oppose an utterly inefficient check. 
Irreligion 18 will attain to a magnitude and hardi- 
hood | that will scorn 19 the restraints of your laws. 
20 Law, sir ! of what avail can this be | against the 
corrupted sentiment of a whole people? Let us' 21 
weigh the interesting truth — that a free people 
can only flourish under the control of moral 
causes; and it is the 23 Sabbath which gives vigor, 
and energy, and stability to these causes. The 
nation expects | that the standard of sound prin- 
ciples will be raised here. Let us give it a ^com- 
manding elevation. Let its tone be lofty. It is 
in this way we should expect to excite the enthu- 
siasm of patriotism, or any other virtue. When 
we would awaken in our youth | the spirit of liter- 
ary emulation, 25 we spread out to their vision | a 
rugged path and a difficult ascent, and raise the 
prize of fame high above the reach of any pursuit, 
but an 2G ardent, laborious, and vigorous reach of 
effort. 27 If we would kindle the love of country, 
we do not humble her claims to a miserable pos- 
ture, just above downright indifference — but | we 
point 28 to a devoted Leonidas, and the brightest 
names of the scroll, and thus urgj our youth 29 
onward and upward. Let us, then, sir, be as wise 
and faithful in the cultivation of sound moral 
principles. 

1 Affirmative gesture No. 1 hand plate — have a dignity of carriage 
all through. 2 Hands to breast. 3 Point upward right hand. 4 Bring 
hand to breast — bend head. 5 Wave forward both arms No. 5 arm plate. 
c Send right hand from breast outward. 7 Send hand from forehead down- 
ward. 8 Both hands to front — fingers as No. 6 hand plate. 9 Wave hand 
to right — palm out. 10 Sweeping movement of hand. X1 Touch breast, 
incline body forward. 12 Touch the forehead quickly several times. 
13 Drop hand. 14 No. 12 hand plate. 15 No. 2 hand plate. 16 No. 13 hand 
plate, then shake the hands clasped. 17 Move hand downward. 18 Describe 
semicircle with hands — palms out. 19 Bring right hand down quickly. 
20 Step backward — amazed look — no gesture. 21 See-saw both hands. 
23 No. 10 hand plate. 24 Point upward — advance. 25 Hands horizontal — 
palms down — move them to right and left. 26 Forcible downward move- 
ment of right hand on emphatic words. 27 Walk to the left — left hand 
out. 28 Point in front. 29 Send both hands from the chest outward — 
palms out. 



POWER OF WEALTH PRODUCED BY LABOR. 



175 



DIRECT 
AND 

EARNEST 
STYLE. 



72-POWER OF WEALTH PRODUCED BY LABOR. 

Tristam Burgess. 
Sir, in this age of the world, the wealth of na- 
tions depends on their labor. There 1 was a time j 
2 nay, | for many ages, plunder was the great re- 
source of nations. 3 The first kingdom established 
on earth | was sustained by the conquest and pil- 
lage of many nations; and 4 "great Babylon, the 
glory of the Chaldean empire/' was built and 
adorned | by the spoil of 5 all Asia. 6 The exorbi- 
tant wealth of one nation, thus obtained, gave an 
example to the world, and awakened the ambition, 
and sharpened the avarice of others; until the 7 
Assyrian was conquered and plundered by the 
Persian, | the Persian by the Macedonian, | and 
8 he, at last, devoured by the Eoman power. 9 The 
wolf | which nursed their founder | seems to have 
given a hunger for prey, insatiable, to the whole 
nation. 10 Perhaps | there was not a house, nor a 
temple, between the Atlantic and the Euphrates, 
which was not plundered by some one of that 
nation of marauders. n Sir, the tide of ages, cen- 
tury after century, 12 had rolled over the last frag- 
ment of Eoman power; the light of science I 
13 dawned on the world, and knowledge of letters 
was disseminated by the press, before men seemed 
to believe that our Creator 14 had, in fact, an- 
nounced to the first of our race, that 15 "by the 
sweat of his face | man should eat his bread all 
the days of his life." 16 No one cause has done 17 
so much in changing that character from war and 
plunder, as that pure, \ meek, and quiet philosophy, 
which has taught 18 all men to "do unto others as 
they would that others should do unto them." 
Eebuked by this divine precept, men have 19 
sheathed the sword, and put their hand to the 
plough; they have mined 20 the earth, and not for 
the instruments of war, but for the machines of 
labor. If, 21 now, wars break out, it is not for 
plunder; cities are not given up to pillage; cap- 
tives are 22 not sold for slaves; territories do 23 not 



176 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUD. 



IMPRESS- 
IVE. 



change owners; men return again with eagerness 
to the 24 habits of peace, and do not look to the 
labors of the camp, but to those of the plough, the 
loom, and the sail, for emolument and wealth. 

25 Wealth is power; and the defense of every 
nation depends on its wealth. The wealth of a 
nation is its labor, its skill, its machinery, its 
abundant control of all the great agents of nature 
employed in production. 26 What but a mighty 
phalanx of labor, an almost boundless power of 
consumption and reproduction, | has defended, 
and now sustains England | in all the athletic 
vigor of the most glorious days of that extraor- 
dinary nation? With a valor truly Spartan she 
builds 27 no wall against the wars of the world. 
28 The little island, accessible at a thousand points, 
and often within gun-shot 29 of the embattled fleets 
of her enemies, has not, for more than 30 seven 
hundred years, been stepped upon by a hostile 
foot. 31 What has enabled her to do this? Her 
untiring labor; her unrivalled skill; her 32 un- 
equalled machinery; her exhaustless capital, and 
unbounded control over all the agents of produc- 
tion. This manufacturing nation, in the last war 
of Europe, exhibited a spectacle 3S never before 
seen by the world. She stood 3i alone against the 
embattled continent; and, at last, with her own 
spindle and distaff, 35 demolished a despotism, an 
iron pyramid of power, built on a base of all 
Europe. 

1 No. 1 hand plate. 2 Turn hand. 3 No. 1 hand plate. * Raise right 
arm and hand. 5 Both hands. 6 Left hand — step to left. 7 Turn to right 
side, use right hand — No. 7 hand plate. 8 Emphasize same gesture. 9 No. 
5 arm plate. 10 Both hands out — turn to right. " Raise left hand from 
side deliberately upward. 12 Shake index "finger of left hand deliberately 
— nodding head. 13 Spread out hands — palms down. 14 Point upward. 
15 No gesture — manner impressive whilst speaking. 16 No. 1 hand plate. 
17 Emphasize the same. 18 Both hands to the front. 19 Action of return- 
ing sword to scabbard. 20 Point downward. 21 Both hands forward — 
advance. 22 Emphatic downward gesture. 23 Repeat same. 2i Both hands 
forward — eager and earnest. 25 Advance — erect bearing — head well up — 
raise right hand over head shake fingers. 26 Arms fully extended to either 
side until end of sentence. 27 Three steps to right — right hand extended. 
28 Slight turn to left — left hand as in No. 1 hand plate. 29 Point left. 
30 Bring left hand down strongly. 31 Both hands out — look of inquiry. 

32 Right hand brought down quickly on following emphatic words. 

33 Throw both hands forward. 3i Advance right foot — raise right hand. 
35 Bring tips of fingers of both hands together and throw quickly apart. 



GLORY OF ARMS. 



177 



73-GLORY OF ARMS. 



Charles Sumner. 



STYLE OF 
AFFIRMA- 
TION. 



MEDIUM 
TIME 
AND 
VOICE. 



Whatever 1 may be the judgment of poets, of 
moralists, of satirists, or even of soldiers, it is 
certain | that the glory of arms still exercises | no 
mean influence over the minds of men. The 2 art 
of war, which has been happily termed by a French 
divine, the baleful art by which men learn to ex- 
terminate one another, is yet held, even 3 among 
Christians, to be an honorable pursuit; and the 
animal courage, which it stimulates and de- 
velops, | is prized as transcendent virtue. It will 
be for ^another age, and a higher civilization, to 
appreciate the more exalted character | of the art 
of benevolence — the art of extending happiness 
and all good influences, by word or deed, to the 
largest number of mankind, — which, in blessed 
contrast with the ^misery, the degradation, the 
ivickedness of war, shall shine 6 resplendent | the 
true grandeur of peace. All then will be willing 
to join with the early poet in saying at least : — 

" Though louder fame attend the martial rage, 
'Tis greater glory to reform the age. " 

Then 7 | shall the soul thrill with a nobler heroism 
than that of battle. Peaceful industry, with un- 
told multitudes of cheerful and beneficent laborers, 
shall be its gladsome token. ^Literature, | full of 
sympathy and comfort for the heart of man, shall 
appear in garments of purer glory than she has 
yet assumed. ^Science \ shall extend the bounds 
of knowledge and power, adding unimaginable 
strength to the hands of men, opening innumer- 
able resources in the earth, and revealing new 
secrets and harmonies in the skies. 10 Art, ele- 
vated and refined, shall lavish fresh streams of 
beauty and grace. ^Charity, in streams of milk 
and honey, shall diffuse itself among all the habi- 
tations of the world. Does 12 any one ask for 
the signs of this approaching era? 



.78 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

13 The increasing beneficence and intelligence of 
our own day, | the broad-spread sympathy with hu- 
man suffering, | the widening thoughts of men, | 
the longings 14 of the heart for a higher condition 
on earth, the unfulfilled promises of Christian 
Progress, | are 15 the auspicious auguries of this 
Happy Future. As early voyagers | over untried 
realms of waste, we have already observed the 
signs of land. The green 16 twig and fresh red 
berry have floated by our bark; the 17 odors of the 
shore | fan our faces; nay, 18 we may seem to des- 
cry the distant gleam of light, and hear from the 
more earnest observers, as Columbus 19 heard, after 
midnight, from the mast 20 head of the Pinta, the 
joyful cry of | 21 Land ! Land ! and lo ! 1 1 22 a n&w 
world broke upon his early morning gaze. 



LOUD. 



1 No. 5 arm plate — both hands. 2 No. 12 hand plate. 3 No. 5 arm 
plate. 4 No. 5 arm plate — turn from side to side, addressing the entire 
audience. 5 Downward gesture in front — make emphatic on italics. 
G Hold both hands up — palms toward audience. 7 Advance — hand on 
breast. 8 Put out right hand. 9 Both hands out — wide apart. 10 Raise 
right hand — point finger. " Clasp hands. 12 Two steps to front — hands 
and eyes directed to audience. 13 Walk to left whilst speaking — left hand 
out. 14 Hand on heart. 15 No. 4 arm plate. 16 Point downward — wave 
hand to right. 17 Let fingers approach nostrils. 18 Advance — look and 
point to front. 19 Wave right hand over head. 20 Point upward and out. 
21 Advance and wave hands. 22 Retire back — extend both hands. 



74-FOURTH OF JULY 1851. 

Daniel Webster. 
On the Fourth of July, 1776, the representatives 

animated, of the United States of America, in Congress 
assembled, declared that these United Colonies 
are, and of right ought to be, free and independent 
States. This 1 declaration, made by most patriotic 
and resolute men, trusting in the justice of their 
cause, and the protection 2 of Providence — and 
yet | not without deep solicitude and anxiety — has 
stood for 3 seventy-five years, and still stands. It 
was sealed 4 in blood. It has 5 met dangers | and 

RA brisk. overcome them; it has had enemies, and it has 



FOURTH OF JULY, 1851. 



179 



FULL 
TONES. 



SUSTAINED 
AND 
STRONG. 



conquered them; it has had detractors, and it has 
abashed them all ; it has had doubting friends, but 
it has cleared all doubts away; and now, | to-day 
^raising its august form higher than the clouds, 
8 twenty millions of people | contemplate it with 
hallowed love, and the world beholds it, and the 
consequences which have followed, with profound 
admiration. This anniversary | animates 9 and 
gladdens, and unites all American hearts. On 
other 10 days of the year | we may be party men, j 
indulging in controversies more or less important 
to the public good ; we may have likes and dislikes, 
and we may maintain our political differences j 
often with warm, and sometimes with angry feel- 
ings. n But to-day | we are | Americans | all in 
all, nothing but Americans. As the 12 great lumi- 
nary over our heads, dissipating mists and frogs, 
cheers the whole hemisphere, so do the associations j 
connected with this day | disperse all cloudy and 
sullen weather, and all noxious exhalations in the 
minds and feelings of true Americans. 13 Every 
man's heart swells within him — every man's port and 
bearing becomes somewhat more 14 proud and lofty, 
as he remembers | that seventy-five years have 
rolled away, and that the great inheritance of 
liberty is | still 15 his; his, undiminished and un- 
impaired; his, in all its original glory; his to en- 
joy, his to protect, and his to transmit to future 
generations. If Washington were now amongst 
us — and if he could draw 16 around him the shades 
of the great public men of his own days — patriots 
and warriors, orators and statesmen — and were 
to address us in their presence, would he not say 
to us — "Ye 17 men of this generation, I rejoice 
and thank God for being able to see that our 
labors, and toils, and sacrifices, were not in vain. 
You are prosperous — you are happy — you are 
grateful. The fire of liberty 18 burns brightly and 
steadily in your hearts, while duty and the law 
restrain it | from bursting forth in wild and de- 
structive conflagration. 19 Cherish liberty as you 



180 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

love it — cherish its securities as yon wish to pre- 
serve it. Maintain the Constitution which | we 
labored so painfully to establish, and which | has 
been to yon such a source of inestimable blessings* 
20 Preserve the Union of the States, cemented as it 
was by our prayers, our tears, and our blood. Be 

increas- true 21 to God, your country, and your duty. 22 So | 
JN& shall the whole Eastern world | follow 23 the morn- 

ing sun, to contemplate you as a nation; so | shall 
all succeeding generations | honor you as they 
honor us; and so | shall that 24 Almighty Power 
which so graciously protected us, and which now 

dignity. protects you, shower 25 its everlasting blessings j 
upon you and your posterity. 



1 Right hand out — palm up. 2 No. 4 arm plate. 3 No. 8 arm plate. 
4 Bring right hand down forcibly and walk towards the right. s Open 
the arms — then clasp the hands. 6 Fingers meeting over the head, then 
drop hands on either side. 7 Fold arms on breast and look upward to the 
left. 8 No. 5 arm plate. 9 Send the right hand to the heart. 10 Walk to 
the left — hands as in No. 11 hand plate. u Striking breast several times. 
12 Point upward. 13 Hand on heart. 14 Fold arms over breast — stand 
erect. 15 Touch breast with hand — bend toward audience. 16 Inward 
gesture, both hands, as in No. 7 arm plate. 17 Advance — head well 
back— No. 7 hand plate. 18 Bring right hand to breast — look from side 
to side. 19 No. 14 hand plate — repeat gesture on the second "cherish." 
20 Arms out straight in front — finger pointing upward. 21 Advance two 
steps to right — point upward — look at audience. 22 No. 1 hand plate. 
23 Left hand pointing left. 24 Clasp hands. 25 Both hands up — hands 
hanging downward — move them to show action of scattering. 



75-ASPIRATIONS OF THE AMERICAN PEOPLE 

R. M. T. Hunter. 
The sense of national honor | beats high in the 
American heart, 1 and its every pulse | vibrates at 
the mere suspicion of a stain upon its reputation. 
medium. gut | that same heart is warmed with generous 
impulses and noble emotions. 2 If you would 
moderate its lust of empire | and its spirit of ac- 
quisition, appeal to its magnanimity towards a 
feeble and prostrate foe — appeal to it in the name 
of the highest aspirations which can animate the 



ASPIRATIONS OF THE AMERICAN PEOPLE. 



181 



ADVICE. 



DIRECT 
STYLE. 



ANTITHE- 
SIS. 



TONES 
CLEAR. 



&JNUN- 
CIATE. 



human heart, the desire for moral excellence, the 
love of liberty, and the noble ambition to take the 
post of honor among nations, | and lead the ad- 
vance of civilization. 3 If our people | are once 
awakened to a true conception of the real nature 
and grandeur of their destiny, the first and great- 
est step, | in my opinion, | is taken for its accom- 
plishment. If my imagination were tasked | to 
select the highest blessing for my countrymen, I 
should say, 4 may they be true to themselves and 
faithful to their mission. I can conceive of 
nothing 5 of which it is possible for human effort 
to obtain, greater than the destiny which we may 
reasonably hope to fulfill. If war has its dreams, | 
dazzling in a splendid pageantry, peace also has 6 
its visions of a more enduring form, of a higher 
and purer beauty. 7 To solve by practical demon- 
stration the grand problem of increasing social 
power | consistent with personal freedom — to in- 
crease the efficiency of the human agent | by en- 
larging individual liberty — to triumph over, not 
only the plrysical, but more difficult still 8 the 
moral difficulties which lie in the path of a man's 
progress, and to adorn that path | with all that 
is rare and useful in art, and whatever is highest 
in civilization, are, in my opinion, the % noblest 
achievements of which a nation is capable. These 
are the ends to which our ambition should be 
directed. 10 If we reverse the old idea of the 
Deity | who presides over our boundaries, let us 
see | so far as we are concerned, that his move- 
ments are consistent with the peace of the world. 
n The sword may be occasional, but it is not the 
familiar weapon of our god | Terminus. 12 The 
axe and the hoe are his more appropriate emblems. 
Let him 13 turn aside from the habitations of civi- 
lized man, his path is toward the wilderness, 
14 through whose silent solitudes, for more than two 
centuries, he has been rapidly and triumphantly 
advancing. 15 Let him plunge still deeper into 
the forest, as the natural gravitation of the tide 



182 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



OBSERVE 
PAUSES. 



VOICE 

SUS- 
TAINED. 



of population | impels him onward. His progress 
in that direction is one of unmixed beneficence to 
the human race. The earth 16 smiles beneath his 
feet, and a new creation arises | as if by enchant- 
ment | at his touch. 17 Household fires illuminate 
his line of march, and new-born lights, strange 
visitants to the night of primeval solitude, kindle 
on domestic altars | erected to all the peaceful 
virtues and kindly affections which consecrate a 
hearth and endear a home. Victorious industry | 
sacks 18 the forest and mines the quarry, for ma- 
terials for its stately cities, or 19 spans the^streams 
and saps the mountain to open the way | for the 
advance of civilization | still deeper into the path- 
less forest and neglected wild. The light of hu- 
man 20 thought | pours in winged streams from 
sea to sea, and the lingering nomad | may have but 
a moment's pause, to behold the flying car | which 
comes to invade the haunts | so long secured to 
savage life. 21 These are the aspirations worthy 
of our name and race, and it is for the American 
people to decide 22 whether a taste for peace | or the 
habits of war are most consistent with such hopes. 
23 I trust that they may be guided by wisdom | in 
their choice. 



1 Extend both hands clinched and shake them quickly. 2 No. 12 hand 
plate — repeat this several times till period. s Bring finger tips together, 
then wave hands apart. 4 Walk to right three steps — use No. 7 hand 
plate. 5 Sweep hand from breast outward — palm down — hold it till 
period. 6 Turn to the left — use left hand, No. 1 hand plate. 7 No. 2 
hand plate. 8 Point downward. 9 Wave right hand over head — right 
foot back. 10 Turn hand and wave it from breast outward. n Bring 
gracefully right hand to left side. 12 Point downward in front. 13 No. 8 
arm plate — walk to the left. - 14 Same gesture. 15 Shoot the right arm 
forward — fingers straight. 10 Both hands extended downward — palms out. 
17 No. 6 arm plate. 18 Sweep hand from breast — palms down. 19 Describe 
a circle with both hands. 20 Touch forehead. 21 Both hands on breast. 
22 No. 1 hand plate. 23 Both hands extended in front. 



ELOQUENCE. 



183 



MODERATE. 



DELIBER- 
ATE. 



76-ELOQUENCE. 

Henry B. Stanton. 
In every enlightened age, eloquence 1 has been a 
controlling element in human affairs. 2 Eloquence 
is not a gift, but an art — not an inspiration, but 
an acquisition — not an intuition, but an attain- 
ment. Excellence in this art | is attained only by 
unwearied practice, and the careful study of the 
best models. The models 3 lie all around us. The 
rest | is within us. 4 Demosthenes and Cicero will 
be household words, in all climes, to the end of 
time. But, the more one studies the masters of 
Grecian and Eoman eloquence, the more readily 
will he yield to the growing opinion | that Eng- 
land, France, and America, during the last sixty 
or seventy years, have produced a greater dum- 
ber of eloquent orators than nourished in all 
Grecian and Eoman history. As objects increase 
in 7 size | when seen through a mist, so men | tower 
into giants when seen through the haze of anti- 
quity. Without neglecting the ancient models, let 
us study those of our own times. 8 From both \ 
we may catch some of that inspiration which bound 
the audience to the orator, and bade him play 
upon their emotions | as the master 9 touches the 
keys of his familiar instrument — which subdued 
them to tears | or convulsed them with laughter 
— which bore 10 them aloft on the wing of imagi- 
nation, or blanched them with horror | while narra- 
tion | threw the colors upon the canvass ( which 11 
held the judgment and the fancy captive, as 
reason forged the chain of argument, 12 and 
poetry studded its links with the gems of illus- 
tration — which poured over the subject | a flood 
of rare knowledge, laden with the contributions 
of 13 all sciences and all ages — which 14 gambolled 
in playful humor, or opened the sparkling jet 
oVeau of wit, or barbed the point of epigram, or 
sketched 15 the laughing caricature, gliding 16 from 
grave to gay, from lively to severe, with majesty 



184 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUD. 
LOUD. 



and grace; — that inspiration 17 which, as Paul 
reasoned of righteousness, temperance, and the 
judgment, made Felix tremble; as Demosthenes 
anathematized Macedonia, made the Greeks cry out, 
18 "Lead us against Philip/' at the thrilling tones 
of Henry, made America ring with the shout, 
1Q "Give us liberty, or give us death/' when the 
thunder of Danton | shook 20 the dome of the Con- 
vention, | 21 roused all Paris to demand the head of 
Louis ; and lashed into fury or hushed into repose | 
22 acres of wild peasantry, as the voice of O'Conneil 
rose 23 or fell. 



1 No. 1 hand plate. 2 No. 5 arm plate. * Both hands out — turn to 
right and left sides. 4 No. 4 hand plate. 5 No. 8 arm plate. 6 Raise both 
arms and bring them down emphatically. 7 Arm out straight — palm 
down — gradually raise it. 8 No. 1 arm plate — raise both arms. 9 Work 
fingers as if manipulating keys of piano. 10 Touch forehead and extend 
hand to right. u Touch forehead again. 12 No. 1 hand plate. 13 Gentle 
waving of both hands in front. 14 Both hands out — palms up. 15 Same 
as 13 . 16 Use No. 7 hand plate twice. 17 Touch right temple. 18 Advance — 
wave right hand upward. 10 Advance to front — both hands up — head 
thrown back. 20 Shake index finger of right hand above the shoulder. 
21 Bring hands up quickly from hanging position and wave them upward 
and to the sides. 22 No. 5 arm plate. 23 Elevate and depress hands. 



QUIET. 



APOSTRO- 
PHE. 



77-DEATH OF WASHINGTON. 

John M. Mason. 
It must ever be difficult | to compare 1 the merits 
of Washington's characters, because he always 
appeared greatest in that which he last sustained. 
Yet 2 if there is a preference | it must be assigned 
to the lieutenant-general of the armies of Amer- 
ica. 3 Not because the duties of that station were 
more arduous | than those which he had often per- 
formed, but because it more fully displayed f his 
4 magnanimity. While 5 others become great by 
elevation, Washington becomes greater 6 by con- 
descension. Matchless patriot ! to stoop, on public 
motives, to an inferior appointment, after possess- 
ing and dignifying the highest offices ! 7 Thrice 
favored country, which boasts of such a citizen! 



DEATH OF WASHINGTON. 



185 



DEJECTED. 



IN ative° Q ^ e & aze W ^^ as tonishment : we 8 exult that we are 
Americans. We augur everything great, and good, 
and happy. But 9 whence this sudden horror? 
10 What means that cry of agony ? Oh ! 'tis the 
shriek of America ! n The fairy vision is fled : 
12 Washington is — no more ! — 

' ' How are the mighty fallen, and the weapons of war 
perished!" 

13 Daughters of America, who erst prepared the 
festal bower and the laurel wreath, plant now the 
cypress grove, and water it with tears. 

' ' How are the mighty fallen, and the weapons of war 
perished !" 

14 The death of Washington, Americans, has re- 
vealed the extent of our loss. It has given us the 
final proof that we 15 never mistook him. 16 Take 
his affecting testament, and read the secrets of his 
soul. Read all the power of domestic virtue. 
17 Eead his strong love of letters and of liberty. 
Read 18 his fidelity to republican principle, and his 
jealousy of national character. 

In his acts, Americans, you have seen the 19 man. 
In the complicated excellence of character, he 
stands alone. Let 20 no future Plutarch attempt 
the iniquity of parallel. Let no 21 soldier of for- 
tune, let no usurping conqueror, let not Alexander 22 
or Caesar, let not Cromwell or Bonaparte, let none 
among the dead or the living, appear in the same 
picture with Washington: or let them appear 23 
as the shade to his light. 



QUIET. 



IMPRESS- 
IVE. 



STRONG. 



EMPHA- 
SIZE. 



1 Slightly wave hand across breast. 2 No. 1 hand plate. 3 No. 12 
hand plate. 4 Touch right temple twice. 5 Left hand out — turn to left. 
6 Bring left down from forehead forcibly. 7 Advance two steps — both 
hands and arms well thrown out — chest out. 8 Elevate and wave right 
hand — stand on toes of right foot. 9 Both hands out — looking from side 
to side. w Repeat the same. 1X Index fingers touch in front of face — 
wave hands apart. 12 Drop hands — lower the head — dejection in manner. 
13 Quickly raise head — both arms out. 14 Arm straight out — index finger 
pointing down. 15 Argumentative gesture — bring opened hand from fore- 
head down. 16 Place both hands front as if holding manuscript. 17 Re- 
peat same. 18 Same. 19 No. 4 arm plate. 20 Shake finger warningly in 
front. 21 Strike palm of right hand into left palm. -- Repeat. 23 Open 
both arms wide. 



186 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



AFFIRMA- 
TIVE. 



IMAGINA- 
TIVE. 



OBSERVE 
EMPHA- 
SIS. 



GRACEFUL 
DECLAMA- 
TION. 



78-AMERICAN HISTORY. 

Julian C. Verplanch. 

The study of the history of most other nations, 
fills 1 the mind with sentiments | not unlike those j 
which the American traveller feels | on entering 2 
the venerable and lofty cathedral of some proud 
old city of Europe. 3 Its solemn grandeur, its 
vastness, its obscurity, strike awe to his heart. 
From the 4 richly painted windows, filled with sacred 
emblems and strange antique forms, a dim Re- 
ligious light falls around. A thousand recollec- 
tions of romance and poetry, and legendary story, 
come thronging in upon him. 7 He is surrounded 
by the tombs of the mighty dead, rich | with the 
labors of ancient art, 8 and emblazoned with the 
pomp of heraldry. 

Q What names does he read upon them? Those 
of princes 10 and nobles who are now remembered | 
only for their vices; and of sovereigns, 11 at whose 
graves no tears were shed, and whose memories 
lived not an hour | in the affections of their people. 
12 There, too, he sees other names, long familiar 
to him for their guilty and ambiguous fame. 
13 There rest, the blood-stained soldier of fortune — 
the or at or, who was ever | the ready apologist of 
tyranny — great scholars, who were the pensioned 
flatterers of power — and poets, who profaned the 
high gift of genius, 14 to pamper the vices of a 
corrupted court. 

15 Our own history, on the contrary, like that 
poetical temple of fame, reared by 16 the imagina- 
tion of Chaucer, and decorated by the taste of 
Pope, is almost exclusively dedicated | to the 
memory of the truly great. Or rather, like the 
Pantheon of 17 Rome, it stands in calm and severe 
beauty | amid the ruins of ancient magnificence 
and "the toys of modern state." Within, no idle 
ornament encumbers its bold simplicity. The 18 
pure light of heaven | enters from above and sheds 
an equal 19 and serene radiance around. 20 As the 



INJUSTICE THE CAUSE OF NATIONAL RUIN. 



187 



eye wanders about its extent, it beholds the un- 
adorned monuments of brave and good men | who 
have greatly bled or toiled for their country, 21 or 
it rests on votive tablets | inscribed with the names 
of the best benefactors of mankind. 



1 Gracefully touch forehead. 2 Send hand outward from chest — palm 
up. 3 Step backward — expression of awe. * Point to left side. 5 Hands 
upward and touching — wave downward and apart. 6 Touch forehead — 
look around — moving body also. 7 Outward movement, both hands, as 
in No. 5 arm plate. 8 Wave hands and look around — speak with dignity. 
9 No. 7 hand plate — advance. 10 Shaking finger — be very animated. 
11 Point downward. 12 Still pointing. 13 Repeat same alternately. 
14 No. 1 hand plate. 15 Both hands slightly touch breast — then outward 
movement. 16 Touch right temple. 17 Point and step to the right. 1S Point 
upward. 19 Bring both hands down in pyramidal form. 20 Finger of 
right hand close to right eye — wave hand outward. 21 Point to right — 
assume and hold graceful attitude till end. 



EARNEST. 



LOUD. 



GRAVE. 



LOUD. 



79-INJUSTICE THE CAUSE OF NATIONAL RUIN. 

Theodore Parker. 

Do you know how 1 empires find their end? 
Yes, | 2 the great states eat up the little; as with 
fish, so with nations. Aye, but how do the great 
states come to an end? 3 By their own injustice, 
and no other cause. 4 Come with me, | my friends, 
come with me into the Inferno of the nations, with 
such poor guidance as my lamp can lend. Let 
us disquiet and bring up the awful shadows of 
empires | buried long ago, and 5 learn a lesson from 
the Tomb. 

6 Come, old Assyria, with the Mnevitish dove 
upon thy emerald crown. 7 What laid thee low? 
8 "I fell | by my own injustice. Thereby Mneveh 
and Babylon came with me to the ground." 
queenly Persia, | flame of the nations, 9 where fore 
art thou so fallen, who troddest the people under 
thee, | bridgedst the Hellespont with ships, | and 
pouredst thy temple-wasting millions on the west- 



188 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



GRAVE. 



ELEVATED 
TONE. 



CHANGE 
VOICE. 



JLOUD. 



RATHER 
HIGH. 



GRAVE. 



WARNING. 



ern world? 10 "Because I trod the "people under 
me, and bridged the Hellespont with ships, and 
poured my temple-wasting millions on the west- 
ern world. n I fell | by my own misdeeds!" 
12 Thou, muselike, Grecian queen, fairest of all 
thy classic sisterhood of states, enchanting yet the 
world | with thy sweet witchery, | speaking in art, 
and most seductive song, 13 why liest thou there j 
with the beauteous yet dishonored brow, reposing 
on thy broken harp ? 14 "I scorned the law of God; 
banished and poisoned wisest, justest men ; I loved 
the loveliness of flesh embalmed in Parian stone; 
15 I loved the loveliness of thought, and treasured 
that | in more than Parian speech. But the 
beauty of justice, the loveliness of love, I trod 
them down to earth! Lo, 17 therefore, have I be- 
come as those Barbarian states — as one of them!" 
18 Oh manly, | majestic Kome, thy seven-fold 
mural crown | all broken at thy feet, why art thou 
here? 'Twas not injustice brought thee low; for 
thy Great Book of Law is prefaced with these 
words, ^Justice is the unchanging , everlasting 
will to give each man his Right! "It was not 
the saint's ideal, it was the hypocrite's pretence ! 
I made iniquity my law. I trod the nations under 
me. Their wealth gilded my palaces, — where thou 
mayest see the fox and hear the owl — it fed my 
courtiers and my courtezans. Wicked men I 
were 20 my cabinet councillors — the flatterer ' 
breathed his poison in my ear. 21 Millions of 
bondmen wet the soil with tears and blood. Do 
you not hear it crying yet to God? 22 Lo, | here 
have I recompense, tormented with such downfall 
as you see ! 23 Go back and tell the new-born 
child, who sitteth on the Alleghanies, | laying his 
either hands upon a tributary sea, a crown of thirty 
stars above his youthful brow — tell him there are 
^rights which States must keep, or they shall 
suffer wrongs. 25 Tell him there is a God | who 
keeps the black man and the white, and hurls to 
earth the loftiest realm that breaks His just, 



BLESSINGS OF EDUCATION. 189 

eternal law! Warn the young empire | that he 
come not down dim and dishonored to my shame- 
ful tomb ! 26 Tell him that Justice | is the un- 
changing, everlasting will to give each man his 
Eight. 17 I knew it, | broke it, and am lost. Bid 
him | to keep it and be safe \" 



1 No. 1 hand plate. 2 Turn hand and wave it. 8 No. 5, emphasize this 
gesture on the emphatic words. 4 Both hands extended — palms up — lower 
hands on the word "Inferno." 5 Shaking right index finger downward. 6 Turn 
to the right — look up — send right hand upward to right. 7 Same position — 
shake the hand gravely. 8 Bring hand slowly downward. » Turn to left — 
left hand up. 10 Slowly bring down left hand — then open both arms on 
"millions." X1 Drop the arms — slowly bend head. 12 No. 7 hand plate. 
13 Same as No. 7, but finger pointing downward. 14 Send both hands 
from breast outward — palms out. 15 Touch forehead. 16 Stamp right foot 
and bring right fist down strongly on the word "trod." 17 Deject manner. 
18 Turn to the right — use No. 8 arm plate. 19 No. 4 arm plate. 10 No. 14 
arm plate. 21 Spread apart both arms. 22 Step back — hold up right hand — 
palm our. 23 bring right hand across breast as in No. 6 arm plate. 
24 Bring right hand to front — palm up. 25 Step forward — point upward — ■ 
continue pointing until "shameful tomb." 26 Hands as in No. 10 hand 
plate — whilst so. slightly shake them. 2T Raise right hand warningly in 
first part of sentence — drop it at the end. 



80-BLESSINGS OF EDUCATION. 

Phillips. 
No doubt, you have 1 all personally considered 
quiet ' — no doubt, you have all personally ^experienced, 

that of all the blessings which it has pleased Provi- 
dence to allow us to cultivate, there is 3 not one 
which breathes a purer fragrance, or bears a 
heavenlier aspect than education. It is a com- 
panion which 4 /io misfortune can depress, 5 ?io 
clime destroy, no enemy alienate, no despotism en- 
slave; at home | a friend, abroad | an introduc- 
tion, in solitude | a solace, in society | an orna- 
ment; it chastens vice, it guides virture, it gives 
at once a grace and government to genius. With- 
out it what is man ? A splendid slave ! a reason- 
ing savage, vacillating between the dignity of an 



190 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



MEDIUM. 



intelligence derived from 7 God, and the degrada- 
tion 8 of passions participated with brutes ; and | 
in the accident of their alternate ascendency, 
9 shuddering at the terrors of an hereafter, or em- 
bracing the horrid hope of annihilation. 10 W hat j 
is this wondrous world of his residence? 



DECLAM- 
ATORY. 



QUESTION- 
ING 
TONES. 



"A mighty maze, and all without a plan," 

n a dark | and desolate | and dreary cavern, with- 
out wealth, | or ornament, | or order. 12 But | 
light up within it the torch of knowledge and how 
wondrous the transition ! The seasons lz change, 
the atmosphere breathes} 4 the landscape 15 lives, 
earth unfolds its fruits, ocean rolls in its magnifi- 
cence, the heavens 16 display their constellated 
canopy, and the grand animated spectacle of na- 
ture rises | 17 revealed before him, its varieties regu- 
lated, and its mysteries \ resolved! 18 The phe- 
nomena | which bewilder, the prejudices which 
debase, the superstitions which enslave, 19 vanish 
before education. Like the holy symbol | which 
blazed upon the cloud before the hesitating Con- 
stantine, if 20 man follow but its precepts, purely, 
it will not only lead him to the victories of this 
world, but open 21 the very portals of omnipotence 
for his admission. 22 Cast your eye over the monu- 
mental map of ancient grandeur, once studded 
with the stars of empire, and the splendors of 
philosophy. 2S What erected the little state of 
Athens into a powerful commonwealth, | placing 
in her hand the sceptre of legislation, and wreath- 
ing 24 round her brow the imperishable chaplet 
of literary fame ? 25 what extended Eome, the haunt 
of banditti, into universal empire? 2Q what ani- 
mated Sparta with that high, unbending, adaman- 
tine courage, which conquered nature herself, and 
has fixed her in the sight of future ages, a model 
of public virtue, and a proverb of national inde- 
pendence ? 27 What | but those wise \ public insti- 
tutions which strengthened their minds with early 
application, informed their infancy with the prin- 



WHAT IS THE FRENCH REVOLUTION? 



191 



decided. ciples of action, and sent 28 them into the world, 
too vigilant to be deceived | by its calms, and 29 
too vigorous to be shaken by its whirlwinds! 

1 Outward movement, both arms, as in No. 5 arm plate. 2 Repeat 
same, No. 5. 3 Use the right hand alone. 4 Wave downward the right 
hand on emphatic words. 5 Repeat. 6 Move out both arms — palms up. 
7 Point upward. 8 Point downward. 9 Step backward — both hands as in 
No. 6 hand plate. 10 Astonishment — look from side to side. 1X No. 7 
hand plate — finger pointing downward. 12 Wave both hands from the 
center outward and upward. 13 No. 5 hand plate — -wave the hand in 
that position to the right. 14 Both arms up — look up — step back with left 
foot. 15 Change the hand to front. 16 Repeat 14 . 17 No. 1 hand plate. 
18 No. 12 hand plate. 19 Wave hands apart — palms out. 20 Two steps to 
the right oblique — raise right hand. 21 Touch tips of fingers — wave both 
hands apart — palms up. 22 Point in front downward . 23 No. 4 arm 
plate 2 * Same position, but describe a circle with finger. 25 No. 5 arm 
plate 26 Place open hand on breast — advance. 27 No. 1 hand plate — 
bearing and look earnest, animated. 28 No. 8 arm plate. 29 Bring right 
hand down strongly. 



81-WHAT IS THE FRENCH REVOLUTION? 



QUESTION- 
ING. 



DECISION. 



STRONG: 
FULL 
TOXE. 



Lamartine. 

What, then, is the French Eevolution? 1 Is it, 
as the adorers of the past say, a great sedition of a 
nation disturbed for no reason, and destroying in 
their insensate convulsions, their church, their 
monarchy, their classes, their institutions, their 
nationality, and even rending 2 the map of Europe ? 
3 No ! the Eevolution has not been a miserable se- 
dition of France; for a sedition | subsides as it 
rises, and leaves nothing | but 4 corpses and ruins 
behind it. The Eevolution has left scaffolds and 
ruins, it is true ; therein | is its remorse ; but it has 
5 also left a doctrine; it has left a spirit 6 which will 
be enduring and perpetual so long as human reason 
shall exist. 

^We are not inspired by the spirit of faction ! 
No factious idea enters our thoughts. We do not 
wish to compose a faction — 8 we compose opinion, 
for it is nobler, stronger, and more invincible. 
9 Shall we have, in our first struggles, violence, op- 
pression and death ? 10 No, gentlemen ! let us give 
thanks to our fathers — it shall be liberty which 
they have bequeathed to us, liberty which now has 
its own arms, its pacific arms, to develop itself 



192 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



MODERATE 
TIME. 



DELIBER- 
ATE. 



FORCIBLE. 



without anger and excess. n Therefore shall we 
triumph — be sure of it ! and if you ask 12 what is 
the moral force | that shall bend the government 
beneath the will of the nation, I will answer you ; 
it is the sovereignty of ideas, the royalty of mind, 
the Bepublic, the true Kepublic of intelligence, in 
one word — 13 opinion — that modern power whose 
very name was unknown to antiquity. Gentle- 
men/ 4 public opinion was born | on the very day 
when Guttenberg, who has been styled the artificer 
of a new world, invented, by printing, the multi- 
plication and indefinite communication of thought 
and human reason. 15 This incomprehensible 
power of opinion | needs not for its sway | either 
the brand of vengeance, the sword of justice, or 
the scaffold of terror. It holds in its 16 hands | 
the equilibrium between ideas and institutions, the 
balance of the human mind. In 17 one of the 
scales of this balance — understand it well 18 — will 
be for a long time placed, mental superstitions, 
prejudices self-styled useful, the divine right of 
kings, distinctions of right among classes, inter- 
national animosities, the spirit of conquest, the 
venal alliance of church and state, the censorship 
of thought, the silence of tribunes, and the ignor- 
ance and systematic degradation of the masses. 
19 In the other scale, we ourselves, 20 gentlemen, 
will place the lightest and most impalpable thing 
of all that God has created 21 — light, sl little of 
that light which the French Eevolution evoked at 
the close of the last century, 22 from a volcano, 
doubtless, but I from a volcano of truth. 23 



1 Look from side to side — use No. 1 hand plate. 2 Wrench hands 
apart. 3 BriDg right down forcibly in front. 4 Point downward twice. 
5 No. 12 hand plate. 6 Hand on breast. 7 Both hands out front — walk 
to the right. 8 Touch forehead — bend forward. 9 Turn back to center — 
both hands moving outward — move them up and down on emphatic 
words. 10 Bring down right hand into left palm. 1X Stand very erect — 
No. 4 arm plate, but the fingers higher. 12 No. 1 hand plate. 13 Bend 
forward — hands as in No. 11 hand plate. 14 Shake finger several times. 
15 Inward movement of hand and arm in No. 7 arm plate. 16 Put out 
right hand. 17 Left hand, No. 1 hand plate. 18 Turn hand quickly — ex- 
tend index finger till period. 19 Put out right hand. 20 Send hand to 
breast. 21 Advance — point upward. 22 No. 2 arm plate. 23 Send hand 
upward quickly. 



DECLINE OF THE CELTIC RACE. 



193 



SYMPATHY. 



REGRET. 



LOW, 



SUSTAINED 
VOICE. 



82-DECLINE OF THE CELTIC RACE. 

Michelet. 

Ireland! Poor 1 first-born of the Celtic race! 
2 So far from France, yet its sister, whom it cannot 
succor across the waves! 3 The Isle of Saints— 
the Emerald Isle — so fruitful in men, so bright in 
genius ! — the country 4 of Berkeley and Toland, of 
Moore and O'Connell! — the land of bright 5 
thoughts and the 6 rapid sword, which preserves, 
amidst the old age of this world, its poetic in- 
spiration. Let the English smile when, passing 
some hovel in their towns, they hear 7 the Irish 
widow chant the coronach for her husband. 
Weep! 8 mournful country, 9 and let France too 
weep, for degradation which she cannot prevent — 
calamities which she cannot avert ! In 10 vain j 
have four hundred thousand Irishmen perished 
in the service of France. The Scotch Highlanders 
will ere long n disappear from the face of the 
earth; the mountains 12 are daily depopulating; 
the great estates have ruined the land of the G-aul | 
as they did ancient Italy. 13 The Highlander will 
ere long exist only in the romances of Walter Scott. 
The tartan and the claymore excite surprise in 
the streets of Edinburgh ; 14 they disappear — 15 they 
emigrate; their national airs will ere long be lost, 
as the music of the Eolian harp | when 16 the winds 
are hushed. 

Behind the Celtic world, the old red granite 
of the European formation has arisen 17 — a new 
world, with different passions, desires, and des- 
tinies. Last of the savage races which overflowed 
Europe, the Germans 18 were the first to introduce 
the spirit of independence; the thirst for 19 indi- 
vidual freedom. That bold 20 and youthful spirit — 
that youth of man, who feels himself strong and 
free in a world which he appropriates to himself 
in anticipation — in 21 forests of which he knows 
not the bounds 22 — on a sea which wafts him to un- 
known shores — that spring of the unbroken horse | 



194 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



RATHER 
RAPID. 



DIRECT. 



which bears him 23 to the Steppes and the Pampas — 
24 all worked in Alaric, when he swore that 25 an 
unknown force impelled him to the gates of Rome ; 
they 26 impelled the Danish pirate when he rode on 
the stormy billow; they animated the Saxon out- 
laws when under Eobin Hood | they contended 
for the laws of Edward the Confessor against the 
Norman barons. 27 That spirit of personal free- 
dom, of unbounded personal pride, shines in all 
their writings, it is the invariable characteristic 
of the German theology and philosophy. 28 From 
the day when, according to the beautiful German 
fable, the "Wargus"'\ scattered 29 the dust on all 
his relations, and threw the grass over his shoulder, 
and resting on his staff 30 overleapt the frail pa- 
ternal enclosure, and let his plume float to the 
wind — 31 from that moment he aspired to the em- 
pire of the world. 32 He deliberated with Attila | 
whether he should overthrow the empire of the 
east or the west; he aspired with England to 33 
overspread the western and southern hemispheres. 



1 Arms hanging in front — hands clasped — palms down. 2 Look and 
point to right. 3 Slowly shake the head — standing erect. 4 Right hand, 
No. 1 hand plate. 5 Touch forehead with left hand. 6 Touch left side 
where sword should hang with right hand. 7 No. 8 arm plate. 8 Take 
one step forward — observe No. 13 hand plate. 9 Point to the right. 10 Wave 
both hands from forehead downward — palms out. X1 Wave left hand to 
the left. 12 Point upward with left hand. 13 No. 1 hand plate. 14 Wave 
left hand to the left. 15 Wave right hand to the right. 16 Hold both in 
front horizontally — palms down. 17 No. 1 arm plate — rising movement 
of both hands and arms. 18 No. 1 hand plate. 19 Send both hands to 
breast — incline body forward. 20 Wave right hand upward. 21 Point and 
turn left. 22 Point in front. 23 Point to front, then quickly to right side 
without lowering arm. 24 Emphatic gesture of right hand. 25 Point up- 
ward. 26 Make a waving movement with hand. 27 Hand to breast — be ani- 
mated 28 No. 12 hand plate — walk three or four steps whilst speaking. 
29 Quickly separate hands to right and left sides. 30 A rorward plunging 
movement with both hands. 31 Put out right hand and quickly elevate it. 
32 No 1 hand plate. 33 Outward movement of both hands as in swimming. 



VINDICATION FROM DISHONOR. 



195 



83-VINDICATION FROM DISHONOR. 



WARNING. 



DIGNITY. 



SLOW 



FATHER 
LOUD. 



VERY IM- 
PRESS- 
IVE. 



Emmet. 



2 Let no man dare | when I am dead | to charge 
me with dishonor; let no man | attaint my mem- 
ory by believing that I could have engaged in any 
cause | but that of my country's liberty and inde- 
pendence; 2 or that I could have become the pliant 
minion of power in the oppression or the miseries 
of my countrymen. The proclamation of the pro- 
visional government speaks for 3 our views; no 
inference can be tortured from it to countenance 
barbarity or debasement at home, or subjection, 
humiliation, or treachery from abroad; 4 I would 
not have submitted to a foreign oppressor; in the 
dignity of freedom I would have 5 fought upon the 
threshold of my country, and its enemy should 
enter only by passing over my lifeless corpse. 6 Am 
I, who lived but for my country, and who have 
subjected myself to the dangers of the jealous 
and watchful oppressor, | and the bondage of the 
grave, only to give my countrymen their rights, j 
and my country her independence, and am 7 I \ 
to be loaded with calumny, and not suffered to 
resent or repel it ? 8 N"o, God forbid ! 

9 My lords, you are impatient for the sacrifice 10 
— the blood which you seek, is not congealed by 
the artificial terrors which surround your victim; 
it circulates warmly and unruffled, through the 
channels which God created for noble purposes, 
but which 11 you | are bent to destroy, for purposes 
so grievous that they cry to heaven. 12 Be yet 
patient ! I have but a few words more to say. 
I am going | to 13 my cold and silent grave ; 
my lamp of life is nearly extinguished: my race 
is run: the 14 grave | opens to receive me, and I 
sink into its bosom ! I have 15 but one request to 
ask at my departure from this world, — it is | the 
charity of its silence! 16 — Let no man write my 
epitaph, for as no man who knows my motives 
dare now vindicate them, let not 17 prejudice or 



196 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



ignorance asperse them. Let them 18 and 19 me 
rejoice in obscurity and peace, and my tomb 20 
remain uninscribed, until other times, and other 
men, can do justice 21 to my character; 22 when my 
country takes her place among the nations of the 
earth, then, and not till then, let my epitaph 
be written. I have done. 



LOUD. 



1 Stand with head slightly bent — left hand inside vest — right foot 
advanced — right hand out as in No. 1 hand plate — turn to right. 
2 Slightly move hand — keep position. 3 Bring hand to breast. 4 Nervously 
throw hands forward and draw them back again. 5 Raise right band 
clinched. 6 Touch breast — slightly advance to right — eyes up. 7 Repeat °. 
8 Emphatic — raise both closed hands. 9 Turn to right — right hand ex- 
tended. 10 Bring right hand to breast — slowly shake the head. 1X Point 
to right — upward. 12 Slowly wave hand downward — speak impressively. 
13 Point downward solemnly. 14 Same gesture — very impressive. 15 No. 
1 hand plate — turn head to right side. 16 Wave warningly right hand in 
front — be intense in speech and action. 17 Short and quick waves of 
right hand in front. 18 Point outward. 19 Point to breast. 20 Point down- 
ward. 21 Hand to breast — slightly bend head. 22 Elevate right hand — 
shake fingers — advance to right — emphasize by gesture italicized words 
till end. 



USE NAR- 
RATIVE 
STYLE. 



QUESTION- 
ING. 



84 -A WILD NIGHT AT SEA. 

Charles Dickens. 

A dark and dreary night : people nestling in their 
beds or circling late about the fire; x Want } colder 
than Charity, 2 shivering at the street corners; 
church-towers humming 3 with the faint vibration 
of their own tongues, but newly resting from the 
ghostly preachment 4 — "One!" The earth covered 
with 5 a sable pall, as for the burial of | Yesterday; 
the clumps of dark trees, — its giant plumes of 
funeral feathers — 6 waving sadly to and fro : all 
hushed, 7 all noiseless, and in deep repose, save the 
swift clouds that skim 8 across the moon; and the 
cautious wind, as, creeping after them upon the 
ground, 9 it stops to listen, and goes rustling on, 
and stops again, and follows, 10 like a savage on the 
trail. 

Whither 11 go the clouds and wind so eagerly? 
If, like guilty spirits, they repair to some dread 



A WILD NIGHT AT SEA. 



197 



UPWARD 

INFLEC- 
TION. 



INCREASED 
TONE. 



10UD. 



VERY 
LOUD. 
RATHER 
LOUD. 



conference with powers like themselves, in what 
wild region do the elements hold council, or 12 where 
unbend in terrible disport? 

Here ! 13 Free from that cramped prison called 
the earth, and out upon the waste of waters. 
14 Here, | roaring, raging, shrieking, howling, all 
night long. 15 Hither come the sounding voices | 
from the caverns on the coast of that small island, 
sleeping, a thousand miles away, 16 so quietly in 
the midst of angry waves; and hither, to meet 
them, 17 rush the Masts | from unknown desert 
places of the world. Here, in the fury of their 
unchecked liberty, they storm 18 and buffet with 
each other ; until the 19 sea, lashed into passion like 
their own, 20 leaps up | in ravings | mightier than 
theirs, and the whole scene is whirling madness. 

21 On, on, on, over the countless miles of angry 
space, roll the long heaving billows. 22 Mountains 
and caves are here, and yet are not; for what is 
now the one, is now the other; then all is but a 
boiling heap of rushing water. 23 Pursuit, and 
flight, and mad return of wave on wave, and savage 
struggling, ending 24 in a spouting up of foam that 
whitens the black night; 25 incessant change of 
place, and form, and hue ; constancy in nothing | 
but "^eternal strife; 27 on, on, on they roll, and 
darker grows the night, and louder howl the winds, 
and more clamorous and fierce become the 28 million 
voices in the sea — when the wild cry goes forth 
upon the storm, 29 "A ship!" 

30 Onward she comes, in gallant combat with the 
elements, her tall masts trembling, and her tim- 
bers starting on the strain; onward she comes, 
now high upon the curling billows, now low down 
in the hollows of the sea, as hiding for the moment 
from its fury; and every storm-voice in the air 
and water cries more loudly yet, 31 "A ship !" 

32 Still she comes striving on: and at her bold- 
ness and the spreading cry, the angry waves rise 
up above each other's hoary heads | to look : and 
round about the vessel, 7 f ar as the' mariners on her 



198 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

decks can pierce into the gloom, they press upon 
her, forcing each other down, and starting up, 
and rushing forward from afar, in dreadful 
curiosity. 34 High over her they break, and round 
her surge and roar; and, giving place to others, 
moaningly depart, and 35 dash themselves to frag- 
ments in their baffled anger: still | she comes on- 
ward | bravely. And though the 36 eager multi- 
tude crowd thick and fast upon her all the night, 
and dawn of day discovers the untiring train j 
yet bearing down upon the ship in an eternity of 
troubled water, onward she comes, 37 with dim 
lights burning in her hull, and people \ there \ 
asleep: as if no deadly element 38 were peering in 
at every seam and chink; and no drowned sea- 
man's grave, with but a plank to cover it, were 
yawning | in the ^unfathomable depths below. 



1 Shaue right fist. 2 Point downward to right. 3 Touch lips with 
fingers. * Advance — assume a listening attitude. 5 Spread out both hands 
in front — palms down. 6 Wave hand in front. 7 Repeat 5 . 8 Send right 
hand upward — describe a quarter of a circle. 9 Make snake-like move- 
ment with arm and hand. 10 Bend down — look on ground. u No. 1 hand 
plate. 12 Outward movement as in No. 5 arm plate. 13 No. 8 arm plate — 
shake the hand. 14 Quickly raise arm and throw hand wildly about. 15 In- 
ward movement, No. 7 arm plate. 16 Point downward. 17 Send out quickly 
both hands — palms outward. 18 Wave both hands from side to side. 
19 Point down. 20 Hands down by sides — palms out — bring them up quickly 
over head. 21 Take three steps to right — right hand up and waving. 22 Point 
up — then down. 23 Point in front — quickly draw hand back — step for- 
ward and then retire. 2i Throw the index finger up perpendicularly. 
25 Sweep left hand quickly across body. 26 Throw out both arms. 27 Re- 
peat 21 . 28 Wide open gesture with both arms. 29 Advance to right — 
shade eyes with hand. 30 Point right. 31 Repeat 29 . 32 No. 7 hand plate. 
33 Point in front — move head as if looking intently. 34 Toss one hand 
over the other, making a circular movement. 35 Throw forward both hands. 
36 Both hands, No. 5 arm plate. 37 Look intently to front and point. 
38 Both hands — fingers as in No. 6 hand plate. 39 Both hands and fingers 
pointing downward in front. 



SORROW FOR THE DEAD. 



199 



MEASURED. 



SAD. 



INTERROG- 
ATIVE. 



MONOTONE. 



APOSTRO- 
PHE. 



85-SORROW FOR THE DEAD. 

Washington Irving. 
The sorrow for the dead is the 1 only sorrow 
from which we refuse to be divorced. Every 
other wound we seek to heal — 2 every other afflic- 
tion to forget; but this wound we consider it a 
duty to keep open 3 — this affliction we cherish and 
brood over in solitude. Where is the mother* 
who would willingly forget the infant | that per- 
ished like a blossom from her arms, though every 
recollection is a pang? 5 Where is the child that 
would willingly forget the most tender of parents, 
though to remember | be but to lament? 6 Who, 
even in the hour of agony, would forget the 
friend over whom he mourns? Who, even when 
the tomb is 7 closing upon the remains of her he 
most loved; when he 8 feels his heart, as it were, 
crushed in the closing of its portal; — who would 
accept of consolation that must be bought by for- 
getfulness? 9 No, the love which survives the 
tomb is one of the noblest attributes of the soul. 
If 10 it has its woes, it has likewise its delights; 
and when the overwhelming burst of grief | is 
calmed into the gentle tear of recollection; when 
the sudden anguish and the convulsive agony j 
over the present ruins of all that we most loved, 11 
is softened away into pensive meditation on all 
that it was in the days of its loveliness — who 
would 12 root out such a sorrow from the heart? 
Though | it may sometimes throw a passing cloud 
over the bright hour of gaiety, or spread a deeper 
sadness over the hour of gloom; 13 yet | who would 
exchange it, even for a song of pleasure, or the 
burst of revelry? 14 No, there is a voice from the 
tomb | sweeter than song. There is a remembrance 
of the dead, to which we turn even from the charms 
of the living. 15 Oh, the grave! — the grave! It 
buries every error — covers 16 every defect — extin- 
guishes every resentment. From its peaceful 
bosom spring none | but fond regrets and tender 



200 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



CHANGE 
TONE. 



PATHETIC. 



SLOW. 



CLIMAX. 



ADMONI- 
TION. 



recollections. Who can look down upon the grave, 
even 17 of an enemy, and not feel a compunctions 
throb | that he should ever have warred | with the 
18 poor handful of earth, that lies mouldering be- 
fore him? 

19 But the grave of those we loved — what a place 
for meditation ! 20 There it is | that we call up, 
in long review, the whole history of virtue and 
gentleness, and the thousand endearments, lav- 
ished upon us — almost unheeded — in the daily 
intercourse of intimacy; 21 there it is | that we 
dwell upon the tenderness — the solemn, awful 
tenderness — of the parting scene. 18 The bed of 
death, | with all its stifled griefs — its noiseless at- 
tendance — its mute, watchful assiduities. The 
last testimonies of expiring love ! The feeble, 
fluttering, thrilling — 23 oh, how thrilling ! — pres- 
sure of the hand. 24 The last, fond look of the 
glazing eye, turning upon us, even from the 
threshold of existence ! 25 The faint, faltering ac- 
cents, struggling in death to give one more assur- 
ance of affection ! 

26 Ay ! go to the grave of buried love, and medi- 
tate! There settle the account with thy con- 
science, for every past benefit unrequited — every 
past endearment unregarded — of that departed 
being, who can 27 never — never — never return, to 
be soothed by thy contrition ! 

28 If thou art a child, and hast ever added a 
sorrow to the soul, or a furrow to the silvered 
brow, of an affectionate parent, — 29 if thou art a 
husband, and hast ever caused the fond blossom 
that ventured its whole happiness in thy arms, 
to doubt one moment of thy kindness or thy truth, 
— if 30 thou art a friend, and hast ever wronged, 
in thought, or word, or deed, the spirit that gen- 
erously confided in thee, — if thou art a lover, and 
hast ever given one unmerited 31 pang to that true 
heart | which now lies cold and still beneath thy 
feet; — 32 then | be sure | that every unkind look, 
every ungracious word, every ungentle action, will 



THE DEATH OF LITTLE DOMBEY. 201 

moderate come thronging back upon thy memory, and 
1 time. l knocking dolefully 33 at thy soul; then | . be sure j 
that thou wilt lie down, sorrowing and repentant, 
on the grave, and utter the unheard 34 groan, and 
pour the unavailing tear — more deep, more bitter, 
because | unheard and unavailing! 

35 Then weave thy chaplet of flowers, and strew 
the beauties of nature about the grave; 36 console 
thy broken spirit, if thou canst, with these tender, 
yet futile tributes of regret : but, take warning by 
the bitterness of this thy contrite affliction over the 
dead, and henceforth | be more faithful 37 and 
affectionate in the discharge of thy duties to the 
living. 



1 Place hand on upper part of breast. 2 No. 1 hand plate. 3 Hand to 
breast. 4 Turn to right — right hand out — then bring it to heart. 5 Hand 
downward in front. 6 Both hands to front. 7 Wave index finger down- 
ward. 8 Touch breast. 9 Right hand up — palm out — turn head to left. 
10 No. 1 hand plate — slightly vary gesture. u Clasp hands — bend the head. 
12 Send closed fingers of right hand from heart outward. 13 Left hand, 
No. 7 hand plate — turn to left. 14 Point downward. 15 Clasp hands — 
look down. 16 Repeat 15 . 1T Outward movement both hands — No. 5 arm 
plate. 1S Point downward. 19 No. 14 hand plate — look down. 20 Continue 
same position. 21 Hands together as in prayer. 22 No. 11 hand plate — 
slowly shake head. 23 Clasp hands under chin. 2i Wave hand from the 
eye outward. 2S Bend down — speak very low. 26 Advance three steps — 

27 Wave hands three times perpendicularly. 
" Left hand, No. 1 hand plate. 30 Right 
plate. 31 Bring hand to heart. 32 Shake finger at audi- 
ence. 33 Touch breast twice. 34 Touch palms together twice. 35 Imitate 
the weaving of flowers. 36 Bring hand to breast. 37 No. 1 hand plate. 



C.VC UUlVVaiU. 13C11U uuvvu SJ 

pointing down — head erect. 27 
28 Right hand, No. 1 hand plate, 
hand, No. 1 hand plate. 31 Briri 



86-THE DEATH OF LITTLE DOMBEY. 

Charles Dickens. 
descrip- Paul had never risen from his little bed. He lay 

TI style ^ ere / listening to the noises in the street, quite 
tranquilly; not caring much how the time went, 2 
but watching it, and watching everything about 
him, with observing eyes. When the sunbeams 
struck into his room through the 3 rustling blinds, 



202 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



RATHER 
QUICK. 



CONVERSA- 
TIONAL. 



CHANGE. 



and quivered on the 4 opposite wall like golden 
water, he knew that evening was coming on, and 
that the sky was red and beautiful. As the re- 
flection died away, and a gloom went 5 creeping 
up the wall, he watched it deepen, deepen, deepen \ 
into night. Then he 6 thought how the long streets 
were dotted with lamps, and how the peaceful 
stars were shining overhead. His fancy had a 
strange tendency to wander to the river, which he 
knew was flowing through the great city ; and now 
he 7 thought how black it was, and how deep it 
would look, Reflecting the hosts of stars — and 
more than all, how ^steadily | it rolled away | to 
meet the sea. 

His only trouble was, the swift and rapid river. 
He felt forced, sometimes, to try to stop it — to 
stem it with 10 his childish hands — or choke its 
way with sand; and when he saw it coming on | 
resistless, he cried out ! But a word 11 from his 
sister Florence, who was always at his side, restored 
him to himself; and leaning his poor head upon 12 
her breast, he told Floy of his dream, | and smiled. 

13 The people round him changed unaccountably 
— except Florence; Florence never changed — and 
what had been the doctors was now his father, 
sitting with his head upon 14 his hand. And Paul 
was quite content to shut his eyes again, and see 
what happened next without emotion. But this 
figure, 15 with its head upon its hand, returned so 
often and remained so long, and sat so still and 
solemn, never speaking, | never being spoken to, | 
and rarely lifting up its face, that Paul began to 
wonder 16 | languidly | if it were real ; and, in the 
night-time, saw it sitting there, with fear. 

17 "Floy,". he said, "what is that?" " Where, 
learest ?" 19 . 20 "There ! at the bottom of the bed." 
"There's nothing there, except papa!" The fig- 
ure | lifted up its head, and rose, and coming to 
the bedside, said — "My own boy, 21 don't you know 
me?" Paul looked it in the face, and thought, 
Was this his father? But the face, so altered to 



THE DEATH OF LITTLE DOMBEY. 



203 



his thinking, thrilled while he gazed, as if it were 
in pain; and, before he could reach out both his 
hands to take it between them, and draw it to- 
wards him, the figure | turned 22 away quickly from 
a little bed, and went out of the door. 

23 How many times the golden water danced 
upon the wall; how many nights the dark, dark 
river rolled towards the sea | in spite of him ; Paul 
never sought to know. If their kindness, or his 
sense of it, could have increased, they were more 
kind, and he more grateful every day; 24 but | 
whether they were many days, or few, appeared 
of little moment now to the gentle boy. One 
night he had been thinking of his mother, and her 
picture in the drawing-room downstairs. 25 The 
train of thought suggested to him to inquire if he 
had ever seen his mother; for he could not re- 
member whether they had told him yes or no — 
the river running very fast, and confusing his 26 
how tone. mind. 27 "Floy, did I ever see mamma?" 28 "No, 
darling; why?" "Did I never see any kind face, 
like a mamma's, looking at me when I was a baby, 
Floy?" he asked, incredulously, as if he had some 
vision of a face before him. 29 "Oh yes, dear!" 
"Whose, Floy?" "Your old nurse's; often." 
"And where is my old nurse?" said Paul. 30 "Is 
she dead too ? Floy, are we all dead, except you ?" 

31 There was a hurry in the room, for an instant 
— longer, perhaps; but it seemed no more — then 
all was still again ; and Florence, with her face quite 
colorless, but smiling, 32 held his head upon her 
arm. Her arm trembled very much. "Show me 
that old nurse, Floy, if you please !" "She is not 
here, darling. 33 She shall come to-morrow." — 
"Thank you, Floy !" 

Little Dombey closed his eyes, and fell asleep. 

But he soon awoke — woke mind and body, and sat 

quicker. upright in his bed. He saw them now about him. 

There was no 34 gray mist before them, as there 

had been sometimes in the night. He knew them 

- every one, and called them by their names. 



SLOW 
PAUSES. 



ANXIOUS. 



204 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



SOFTLY. 



SLOW. 



QUICKER. 



SOLEMN. 



35 "And who is this? Is this my old nurse?" 
said the child, regarding with a radiant smile a 
figure coming in. 36 Yes, yes ! No other stranger 
would have shed those tears at sight of him, and 
called him her dear boy, her pretty boy, her own 
poor blighted child. No other woman 37 would have 
stooped down by his bed, and taken up his wasted 
hand, and 38 put it to her lips and breast, as one 
who had some right to fondle it. No other woman 
would have so forgotten everybody there but him 
and S9 Floy, and been so full of tenderness and 
pity. "Floy, this is a kind good face," said Paul. 
"I am glad to see it again. 40 Don't go away, old 
nurse! Stay here!" 

"Now lay me down," he said ; "and, Floy, come 
close to me, and let me see you!" Sister and 
brother wound 41 their arms around each other, 
and the golden light came streaming in, and fell 
upon them, locked together. "How fast the river 
runs, between its green banks and the rushes, 
Floy! But it's very near the sea. I hear the 
waves ! They always said so." Presently he told 
her that the motion of the boat upon the stream 
was lulling him to rest. How green the banks 
were now, how bright the flowers growing on them, 
and how tall the rushes! Now the boat was out 
at sea, but gliding smoothly on; and now there 
was a shore before them. Who stood on the bank ? 
42 He put his hands together, as he had been used 
to do at his prayers. He did not remove his arms 
to do it ; but they saw him fold them so | behind 
her neck. "Mamma is like you, Floy; I know 
her by the face! But tell them that the print 
upon the stairs is not divine enough. The light 
about the head | is shining on me as I go !" 

43 The golden ripple on the wall came back again, 
and nothing else stirred in the room. . . . The 
old, old** fashion ! The fashion that came in with 
our first parents, and will last | unchanged | until 
our race has run its course, and the 45 wide firma- 
ment is rolled up like a scroll. The old, old fash- 



THE FUNERAL OF LITTLE NELL. 205 

ion 46 — Death! Oh, thank 47 God, all who see it, 
for that older fashion yet, of Immortality! 
And look upon us, angels of young children, with 
regards not quite estranged, when the 48 swift river 
bears us to the ocean ! 



1 Point down. 2 Raise head. 3 Point to right. 4 Hand to left and 
slightly wave it. 5 Slowly raise hands in front — palms down. G No. 7 
hand plate — wave the finger three times. 7 Both hands as in No. 3 arm 
plate. 8 Raising finger from below, upward. 9 Move siowly right hand 
to the right. 10 Put quickly forward both hands — palms outward. X1 No. 
1 hand plate. 12 Lean head on breast. 13 Two hands out — move head 
sideways — slowly drop hands. 14 Rest head on hand. 15 Point to figure. 
1(3 Hand holding chin — nod the head twice. 17 Quick start and point. 
19 Two hands out — look about inquiringly. 20 Point. 21 Clasp hands — 
bend down. 22 Quick movement of arm and body to right. 23 Waving 
movement of hand to the left. 24 Drop hand slow — attitude of dejection. 
25 Fingers of both hands to temples. 2G Slightly vary the previous gesture. 
27 Clasp hands and look upward. 28 Downward patting movement of the 
hand. 29 Clasp hands — pleased expression. 30 Slowly raise hands, then 
clasp them. 31 Swing right arm quickly to right. 32 Bring right hand 
across and touch left arm, which is extended. 33 Gesture of soothing. 
34 Bring fingers of both hands to eyes — then an outward movement. 
3G No. 4 arm plate. 3G Bending down — speaking very softly. 37 No. 1 
hand plate. 38 Bring right hand to lips. 39 No. 14 hand plate. 40 Extend 
arms to front and upward. 41 Place hands on opposite shoulders — keep 
this picture for some time. 42 Bring palms of both hands together. 
43 Point to left. 44 Wave the hand up and down. 45 Bring fingers to- 
gether over head, then let them droD either side, describing a circle. 
46 Point downward. 47 Hands together prayerfully. * 8 Send hands from 
breast to the front. 



87-THE FUNERAL OF LITTLE NELL. 

Charles Dickens. 

NA TirE Anon the bell — 1 the bell she had so often heard, 

by night and day ; 2 and listened to [ with solemn 
pleasure almost as a living voice — rang its re- 
morseless toll, for her, so young, so beautiful, so 
good. 3 Decrepit age, and vigorous life, and bloom- 

medium ing youth, and helpless infancy, poured forth — 
tone, on cm tches, — in the pride of strength and health — 

in the full blush of promise — in the mere dawn 
of life — 4 to gather | round her tomb. Old men 
were there, 5 whose eyes were dim, and senses fail- 
ing — 6 grandmothers, who might have died ten 
years ago, and still been old — 7 the deaf, the blind, 
the lame, the palsied, the living dead in many 
shapes and forms, to see the closing of that 8 early 
grave. What was the death it would shut in, to 
9 that which still could crawl and creep above it ? 



206 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



BATHER 
SLOW. 



SOLEMN. 



BRISKER. 



SUBDUED. 



10 Along the crowded path they bore her now; 
pure as the newly-fallen snow that covered it; 
whose day on earth had been as fleeting. Under 
the porch, where she had sat, when Heaven, in its 
mercy, brought her to that peaceful spot, she 
passed again; and the old church received her in 
its quiet shade. 

n They carried her to one old nook, where she 
had many and many a time sat musing, and laid 
their burden 12 softly | on the pavement. The light 
streamed on through 13 the colored window — a 
window where the boughs of trees were ever rus- 
tling in the summer, and where the birds sang 
sweetly all day long. With every breath of air 
that stirred among those branches in the sunshine, 
some trembling, changing light would fall upon 
her 14 grave. 

15 "Earth to earth, ashes to ashes, dust to dust!" 
Many a young hand dropped in its little wreath, 
many a stifled sob was heard. Some, and they 
were not a few, knelt down. All were sincere 
and truthful intheir sorrow. 

16 The service done, the mourners stood apart; 
and the villagers closed round to look into the 
grave, before the pavement-stone should be re- 
placed. One called to mind how he had seen her | 
sitting on that very spot, and how her book had 
fallen on her lap, and she was gazing with 17 a 
pensive face upon the sky. Another told how he 
had wondered much that one so delicate as she, 
should be so daring; how she had never feared to 
enter the church alone at night, but had loved to 
linger there when all was quiet, 18 and even | to 
climb the tower stair, with no more light than that 
of the moon's rays stealing through the loopholes 
in the thick old wall. A whisper went 19 about 
among the eldest, that she had seen and 
talked with angels ; and when they called to mind | 
how she had looked and spoken, and her early 
death, some thought it might he so, indeed. 20 
Thus, coming to the grave in little knots, and 



THE FUNERAL OF LITTLE NELL. 



207 



NARRA- 
TIVE. 



DIRECT. 



LOUDER. 



glancing down, and giving place to others, and 
falling off in whispering groups of three or four, 
the church was cleared in time, of all but the 
sexton and the mourning friends. 

21 They saw the vault covered, and the stone 
fixed down. 22 Then, when the dusk of evening had 
come on, and not a sound disturbed the sacred 
stillness of the place — when 23 the bright moon i 
poured her light on tomb and monument, on pillar, 
wall, and arch, and most of all (it seemed to 
them) 24 upon her quiet grave, — in that calm time, 
■when outward things and inward thoughts teem 
with assurances of immortality, 25 and worldly 
hopes and fears are humbled in the dust — then, 
with tranquil and submissive hearts, 26 | they turned 
away, | and left the child 27 with God. 

^Oh ! it is hard to take to heart | the lesson that 
such deaths will teach; but let no man reject it, 
for it is one that we must all learn, and it is 
a mighty, universal Truth. When Death | 
29 strikes down the innocent and young, for every 
fragile form from which he lets the panting spirit 
free, 30 a hundred Virtues rise, in shapes of Mercy, 
Charity, and Love, to walk the world, and bless it. 
Of every 31 tear that sorrowing mortals shed on 
such green graves, some good is born, some gentler 
nature comes. In the Destroyer's steps there 
spring up bright creatures that defy his power, 
and his dark path becomes a way of 32 light to 
Heaven. 



1 Point up to right — look to left. * Bring right hand to ear. 3 Both 
hands extended to front. * Use same gesture, pointing downward. 5 Right 
hand, No. 1 hand plate. 6 Left hand, No. 1 hand plate. 7 Point to ear 
and eye. 8 Point down. 9 Both arms well extended downward — palms 
down. 10 Bring right hand from left shoulder — sweep it right. " Still 
pointing right — walking to the right four steps. 12 Point slowly down- 
ward. 13 Point and turn well to right — head erect. "Point down with 
left hand. 15 Hands clasped as in No. 13 hand plate — head on breast — 
keep this picture for four lines. 16 Throw hands apart — then bring them 
together. 17 Look upward. 18 Point and look upward. 19 Turn mysterious- 
ly from side to side. 20 No. 1 hand plate. 21 Bring hands together down- 
ward. 22 Elevate hands and slowly drop them. 20 Point upward and look. 
24 Point downward. 25 Hand on breast and slowly drop it. 26 Hand to 
heart. 27 Point up — action of reverence. 28 Clasp hanas. 29 Bring right 
hand down forcibly. 30 Throw both hands up — keep them there till period. 
81 Hand to eye — then point down. 32 Advance — point and look up. 



208 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



88-GOD IS LOVE. 



ARGU 

MENTA- 
TIVE. 



DIRECT. 



FULL 
VOICE. 



EMPHATIC. 



Richard Watson. 



Where 1 shall we go for manifestations of the 
tenderness, the sympathy, the benignity of God? 
2 The Philosopher of this world leads us to Na- 
ture, its benevolent final causes, and kind con- 
trivances to increase the sum of animal happiness ; 
and there 3 he stops — with half his demonstration ! 
But the 4 Apostle leads us to the Gift bestowed by 
the Father for the recovery of man's intellectual 5 
and moral nature, 6 and to the Cross endured by 
the Son on this high behalf. Go 6 to the heavens, 
which canopy man with grandeur, cheer his steps 
with successive light, and mark his festivals by 
their chronology ; 7 go to the atmosphere, which in- 
vigorates his spirits, and is to him the breath of 
life ; 8 go to the smiling fields, decked with verdure 
for his eye, and covered with fruits for his sus- 
tenance; go to 9 every scene which spreads beauty 
before his gaze, which is made harmoniously vocal 
to his ear, which fills and delights the 10 imagina- 
tion by its glow or by its greatness : we travel with 
you, we admire 11 with you, we feel and enjoy with 
you, we adore with you, — but we stay not with 
you. 12 We hasten onwards, in search of a demon- 
stration more convincing that "God is love:" we 
rest not till we press into the strange, the mourn- 
ful, the joyful scenes of ^Calvary; and amidst 
the 14 throng of invisible and astonished angels, 
weeping disciples, and the mocking multitude, 
under the arch of the darkened 15 heaven, and with 
16 earth trembling beneath our feet, we gaze 17 upon 
the meek, the resigned, but fainting Sufferer; 
and exclaim, 18 "Herein is lovel" — herein, and no- 
where else, is it so 18 affectingly, so unequivocally 
demonstrated, — 19 "not that we loved God, but that 




GOD IS I.OVE. 
(See page 208.) 



THE CRUCIFIXION. 209 

God loved us, and sent His Son to be the propitia- 
tion for our sins." 



1 No. 5 arm plate, both hands — turn completely, taking in entire audi- 
ence. 2 Right hand out. 3 Lower the arm, still pointing. 4 Left hand 
out, then upward. 5 Touch forehead and breast. ° Advance and use No. 
4 arm plate. 7 Wave upward both hands — throw the head back. 8 No. 5 
arm plate. 9 Repeat 8 . 10 Touch right temple. u Advance — look around — 
use No. 13 hand plate. 12 Wave hand from breast outward. 13 Point up- 
ward — look of reverence. 14 No. 5 arm plate. 15 Describe arch above head 
with both hands. 16 Shake right hand in front. 17 Advance to right — 
hands crossed on breast — look up. 18 Same position. 10 Send both hands 
from breast upward — bring them back to breast — hold till finish. 



89-THE CRUCIFIXION. 

Translation from Bossuet. 
E declama When our Redeemer Expired on the cross, sym- 
tion. pathizing nature was convulsed ! The sun 2 was 
suddenly enveloped in midnight darkness, and 
^confusion reigned! But I shall pass these ter- 
rific events, in order to lead your attention to more 
important objects. 4 The Cross erected on Mount 
Calvary was the standard of victory, to which 
even 5 Thought was to be led captive, and before 
which Imaginations were to be cast down; — that 
is to say, human wisdom and skeptic reluctance. 
No voice sublime was heard 6 sounding from a 
thunder-bearing cloud, as of old from the heights 
of Sinai! No approach was observed of that 
formidable Majesty, before whom the mountains 
melt as wax ! 8 Where, where was the warlike 
preparation of that power, which was to subdue 
the world? See the whole artillery collected on 
Mount Calvary — in the exhibition 9 of a Cross, of 
of an agonizing Sufferer, and a crown of thorns ! 
Eeligious truths was exiled from the earth, and 
idolatry sat 10 brooding over the moral world. The 
"Egyptians, the fathers of philosophy; 12 the 
Grecians, the inventors of the fine arts; 13 the Ro- 



210 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUD. 



FORCEFUL. 



OBSERVE 
PUNCTUA- 
TION. 



mans, the conquerors of the universe ; were all 
unfortunately celebrated for the perversion of 
religious worship, — 14 for the gross errors they ad- 
mitted into their belief, and the indignities they 
offered to the true religion. 15 Minerals, vege- 
tables, animals, the elements, became objects of 
adoration; even abstract visionary 16 forms, such 
as fevers and distempers, received the honors of 
deification: and to the most infamous vices, and 
dissolute passions, altars 17 were erected. The 
world, which God had made to manifest His 
power, seemed to have become a temple of idols, 
where everything was god 18 but God Himself ! 

The mystery of the crucifixion was the remedy 
the 19 Almighty ordained for this universal 
idolatry. He knew the mind of man, and knew 
that it was not by reasoning that an error must 
be destroyed, which reasoning had not established. 
20 Men gave the Divinity their own figure, and 
attributed to Him their vices and passions. Kea- 
soning 21 had no share in so brutal an error. It 
was a subversion of reason, a delirium, a frenzy. 22 
Argue with a frenetic person, you do but the more 
provoke him, and render the distemper incurable. 
Neither will reasoning cure the delirium of idola- 
try. 23 What has learned antiquity gained by her 
elaborate discourses? her reasonings so artfully 
framed? 24 Did Plato, with that eloquence which 
was styled divine, overthrow 25 one \ single \ altar \ 
where monstrous divinities were worshipped? 

Experience hath shown that the overthrow of 
idolatry could not be the work of reason alone. 
Far from committing to human wisdom the cure 
of such a malady, God 26 completed its confusion 
by the mystery of the Cross. Idolatry (if rightly 
understood) took its rise from that 27 profound 
self-attachment inherent in our nature. Thus it 
was | that the Pagan mythology 28 teemed with 
deities, who were subject to human passions, weak- 
nesses, and vices. 29 When the mysterious Cross 
displayed to the world an agonizing Kedeemei, 



ON INFIDELITY. 211 

incredulity exclaimed, it was foolishness! 30 But 
the darkening sun, Nature convulsed, the dead 
arising from their graves, said, it was wisdom! 



1 Slowly raise hand — finger pointing upward. 2 Place hands before 
face — palms out — then separate them. 3 Throw hands downward — wrist 
movement. 4 Same as \ 5 Touch forehead. 6 Shake finger of right hand, 
pointing upward. 7 Sweep hands majestically. 8 Step to right — right hand 
out — commanding bearing. ° Hand up almost perpendicular — shake finger 
three times. 10 Put out both hands — fingers as in No. 6 hand plate. 
11 Put out right hand — turn to the right. 12 Turn and gesticulate toward 
left. 13 Both hands to the front. 14 Bring right hand down forcibly. 
15 No. 1 hand plate. 16 Touch forehead and wave hand outward. 17 Ele- 
vate right hand as in No. 4 arm plate. 18 Point upward — advance. 10 Re- 
peat 18 . 20 Bring hands to breast. 21 Hand to forehead — then wave out- 
ward. 22 No. 12 hand plate. 23 Walk four steps to left — left hand ex- 
tended. 2i Turn right to center — use right hand. 2B Bring hand down 
three times on emphatic words. 26 Use very dignified posture — point up- 
ward. 27 Both hands on breast. 28 Throw both hands forward — paints 
out. 29 Point up. 30 Hold out both hands — palms out. 



90-ON INFIDELITY. 

Dr. Andrew Thomson. 

TE Jr^ R ' -^ * s am idst trials and sorrows 1 that infidelity 

appears in its justest and most frightful aspect. 
When subjected to the 2 multifarious ills "which 
flesh is heir to," what is there to uphold 3 our spirit, 
but the discoveries and the prospects that are un- 
folded to us by revelation? What, for this pur- 
pose, can be compared with the belief 4 that every- 
thing here below is under the management of 
Infinite Wisdom and Goodness, and that there 
is an Hmmortality of bliss awaiting us in another 
world? If this conviction be taken 6 away, what 
is it that we can have 7 recourse to, on which the 
mind may patiently and safely repose in the sea- 
son of adversity? 8 Where is the balm which I 
may apply with effect | to my wounded heart, after 
I have rejected the aid of the Almighty Physician ? 
9 Impose upon me whatever hardships you please; 
give me nothing but the bread of sorrow to eat; 
take from me the friends in whom I had placed 
my confidence; lay me in the cold hut of poverty, 



212 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



ENER- 
GETIC, 



REGRET- 
FUL. 



and on the thorny bed of disease; set 10 deaih be- 
fore me in all its terrors; do all this, — only let 
me trust 11 in my Saviour, \ and "pillow my head 
on the bosom of Omnipotence/' — and I will "fear 12 
no evil" — I will rise superior to affliction, — "I will 
rejoice in my tribulation." But, let infidelity in- 
terpose between 13 God and my soul, and draw its 
impenetrable 14 veil over a future state of exist- 
ence, and limit all my trust to the creatures of a 
day, and all my expectations to a few years as 
uncertain as they are short; and how 15 shall I 
bear up, with fortitude or with cheerfulness, under 
the burthen of distress? Or, where shall I find 
one drop 16 of consolation to put into the bitter 
draught, which has been given me to drink? 17 I 
look over the whole range of this wilderness in 
which I dwell ; but I see 18 not one covert from the 
storm, nor one leaf for the healing of my 19 soul, 
nor one cup of water to refresh me, in the weari- 
ness and the faintings of my pilgrimage. 



1 Slowly shake head — hand on breast. 2 Both hands, No. 5 arm plate. 
3 Hand on breast. * Send both hands outward — palms up — turn to both 
sides. 5 No. 4 arm plate. 6 Look inquiringly at audience — hands as In 
No. 11 hand plate. 7 Touch forehead. 8 Put out right hand and then 
place it over heart. 9 Lay open palms on chest — slowly turn head from 
side to side. 10 Fingers apart as in No. 6 hand plate. 1X Slowly raise 
hand over head — raise eyes. 12 Falling movement of hand — No. 3 arm 
plate. 13 Clasp hands fervently at breast. 14 Wave right hand outward. 
10 Step forward — look of inquiry — hand on breast. 1S No. 12 hand plate. 
17 Swing right arm outward — follow gesture with look. 18 Shake finger 
several times. 19 Hand to breast. 



THE DEATH OF THE WICKED. 213 

91-THE DEATH OF THE WICKED. 

Translation from Massillon. 
The remembrance of the past, and the view of 

fiA ouiCK ^ e P resen V would be little to the expiring sinner, 
' and could he confine himself to these ; but the thoughts 2 

L0L ' of a futurity convulse him with horror and de- 
spair. That futurity, 3 that incomprehensible 
region of darkness, which he now approaches, 
^conscience his only companion; that futurity, 
that 3 unknown land | from which no traveller has 
ever returned, where he knows not whom he shall 
find, nor 6 what awaits him; that futurity, that 
fathomless 7 abyss, in which his mind is lost and 
bewildered, and into which he must now 8 plunge, 
ignorant of his destiny; that 9 futurity, that tomb, 
that residence of horror, where he must now oc- 
cupy his place amongst the ashes and the carcasses 
of his ancestors; 10 that futurity, that incompre- 
hensible eternity, even the aspect of which he can- 
not support; 11 that futurity, — in a word, that 
dreadful judgment, to which, before the wrath 
of God, he must now appear, and render account 
of a life | of which every 12 moment almost has 
been occupied by crimes: — Alas! 13 while he only 
looked forward to this terrible futurity at a dis- 
tance, he made an infamous boast of | not dread- 
ing it; 14 he continually demanded, with a tone of 
blasphemy and derision, 15 Who is returned from 

uarxebt* it? 16 He ridiculed the vulgar apprehension, and 
piqued himself upon his undaunted courage. But, 
17 from the moment that the hand of God is upon 
him; from the moment that death approaches 
near, that the gates of eternity 18 open to receive 
him, and that he touches upon that terrible fu- 
turity against which he seemed so fortified — 19 ah ! 
he then becomes either 20 wealc, trembling, dis- 
solved in tears, 21 raising up suppliant hands to 
Heaven! — or, gloomy, 22 silent, agitated, revolving 
within himself the most dreadful thoughts, and 



214 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



RATHER 
QUICK. 



SOLEMN 
TONE. 



SORROW. 



no longer expecting more consolation or mercy 
from his weak tears and lamentations, 23 than from 
his frenzies and despair! 

24 In vain | the minister of the Church en- 
deavors to soothe his terrors, by opening to him 
the bosom of Divine mercy; — a ^secret and ter- 
rible voice resounds from the bottom of his heart, 
and tells him that there is no 2Q salvation for the 
impious: his friends and relations are 27 assembled 
round his bed to receive his last sighs, and he 
28 turns away from them his eyes, because he finds 
still amidst them | the remembrance of his crimes. 
Death, however, approaches : ' the minister en- 
deavors to support by prayer that spark of life 
which still remains: ^"Depart, Christian soul!" 
says he: he says not to him, "Prince, grandee of 
the world, depart !" During his life, the public 
monuments were hardly sufficient for the num- 
ber and pride of his titles. 30 In his last moment, 
they give him that title alone which he had re- 
ceived in baptism; the only one to which he had 
paid no attention, and the only one which can re- 
main to him for ever. 31 "Depart, Christian soul !" 
32 You had looked upon the Earth as your country, 
and it was only a place of pilgrimage from which 
you must depart. The Church thought to have 
announced the glad tidings to you, — the expira- 
tion of your exilement, — in announcing the dis- 
solution of your earthly frame. Alas ! and it 
only brings you 33 melancholy and frightful news, 
and opens the commencement of your miseries 
and anguish. 

Then | the expiring sinner, finding, in the re- 
membrance of the past, 34 only regrets which over- 
whelm him; in all which takes place around him, 
only s Hmages which afflict him ; in the thoughts 
of futurity, 36 only horrors which appal him; no 
longer knowing to whom to have recourse; 
37 — neither to created beings, who now leave him ; 
nor to the world, which vanishes; nor to men, 
who cannot save him from death ; 38 nor to the just 



THE DEATH OF THE WICKED. 



215 



IRAPID. 



CLIMAX. 



God, whom he looks upon as a declared enemy, 
and from whom he has no indulgence to expect : 
— a '^thousand horrors, occupy his thoughts; he 
torments, he agitates himself, in order 40 to ny 
from Death which grasps him, or at least to fly from 
himself. From his expiring eyes issues something 41 
I know not what, of dark and gloomy, which ex- 
presses the fury of his soul; in his anguish he 
utters words, 42 interrupted by sobs, which are un- 
intelligible, and to which they know not whether 
repentance or despair gives birth. 43 He deeply 
sighs j and they know not whether the remem- 
brance of his past crimes, or the despair at quit- 
ting life, forces from him such groans of anguish. 
44 x\t last, in the midst of these melancholy exer- 
tions, his eyes * 5 ftx, | his features change, | his 
countenance becomes disfigured, his livid lips con- 
vulsively separate; his whole frame quivers; and, 
by this last 46 effort, his unfortunate soul tears 
itself reluctantly from that body of clay, falls into 
the hands of its God, and 47 finds itself | alone at 
the foot of the awful tribunal! 



1 Stand erect — left foot back — chest out — use No. 1 hand plate 
2 Touch the forehead and lift the hand upward. 3 Still pointing up. 
4 Tapping the forehead twice. 5 Point up. 6 Falling movement of arm as 
in No. 3 arm plate. 7 Arm straight to front — finger pointing down. 
8 Throw hands forward and downward — imitate the act of plunging. 9 No. 
7 hand plate. 10 Repeat same. 1X Raise right hand up— palm out. 12 Roth 
hands out, No. 5 arm plate. 13 Clasp hands and slowly rock body from 
side to side. 14 No. 2 hand plate. 15 Same as 14 , but shake the hand. 

16 Sway hand outward from breast — then bring fingers back to breast. 

17 No. 12 hand plate. 18 Roth hands in front of face — palms out — then 
separate them on the word "open." 19 Nod the head twice. 20 Let the 
hands tremble. 21 Raise both hands higher than head. 22 Clasp head with 
both hands. 23 Wring both hands. 24 Fold the arms — shake head. 25 Shake 
index finger of right hand. 26 Forcibly bring down right fist. 27 No. 5 
arm plate, both hands — look around, turning body. 2S Wave hand to 
right — turn face and body to left. 29 Hands together prayerfully. 30 No. 
1 hand plate. 31 Clasp hands. 32 No. 3 hand plate. 33 Clasp hands — shake 
head sorrowfully. 34 Head back — eyes up — opened hands laid on each 
cheek. 35 Hands in front of face — palms out — fingers apart — look of horror. 
36 Repeat 85 . 37 Right hand out — quickly turn it to right. 3S Point up. 
39 Roth hands placed on back of head — look up. 40 Hands and arms out 
horizontally — hands clinched. 41 Touch eyes — move hands outward. 42 Hand 
grasping throat. 43 Hand on breast — sigh. 44 Clasp fiands — advance — 
look of intense emotion. 45 Touch eye — face — lip. 46 Hands clutching 
breast — throw them violently forward. 47 Shake right index finger up- 
ward solemnly — stand on the toes. 



216 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUD AND 
QUICK, 



UPWARD 
INFLEC- 
TION. 



QUICK 
AND 
DIRECT. 



ARGU- 
MENTA- 
TIVE 
STYLE. 



92-ON THE AMERICAN WAR. 

Lord Chatham. 

I cannot, 1 my Lords, I 2 will not, join in con- 
gratulation on misfortune and disgrace. This, my 
Lords, is a 3 perilous and tremendous moment. It 
is not a time for adulation; the smoothness of 
flattery cannot save us in this rugged and awful 
crisis. It is now necessary to instruct the 4 throne 
in the language of truth. We must, if possible, 
5 dispel the delusion and darkness which envelope 
it; and 6 display, in its full danger and genuine 
colors, the ruin which is brought to our doors 
7 Can ministers still presume to expect support in 
their infatuation? Can Parliament be so dead 
to' its dignity and duty, as to give its support to 
measures | thus obtruded and forced upon it? 
8 Measures, my Lords, which have reduced this 
late flourishing empire to scorn and contempt! 
'But yesterday, 9 and Britain might have stood 
against the 10 world: now, 11 none so poor as do her 
reverence !" — 12 The people, whom we at first de- 
spised as rebels, but whom we now acknowledge 
as enemies, are abetted against us, supplied with 
13 every military store, have their interests con- 
sulted, and their ambassadors entertained, by our 
inveterate enemy; and ministers 14 do not — and 
dare not — interpose with dignity or effect. The 
desperate state of our army abroad is in part 
known. 15 No man | more highly esteems and 
honors the British troops than I do ; I know their 
virtues and their valor; I know they can achieve 
16 anything but impossibilities ; and I know | that 
the conquest of British America 17 is an impossi- 
bility. You cannot, my Lords, 18 you cannot 
conquer America. 19 What is your present situa- 
tion there ? We do not know the worst ; 20 but we 
know that, in three campaigns, we have done 
nothing, and suffered much. You may swell 
21 every expense, accumulate every assistance, and 
22 extend your traffic to the shambles of every 



ON NAPOLEON BONAPARTE. 217 

German despot; your attempts will be for ever 
23 vain and impotent — doubly so, indeed, from this 
mercenary aid on which you rely; for it irritates, 
to an incurable resentment, the minds of your 
adversaries, to overrun them with the mercenary 
sons of rapine and plunder, devoting 24 them and 
their possessions to the rapacity of hireling cruelty. 
24 If I were an American, as I am an Englishman, 
while a foreign troop was landed in my country, 
very 26 I never would lay down my arms; — never, 

LOUD. NEVER, NEVER ! 



1 No. 1 hand plate. 2 Repeat the same, but with force. 3 Swing out 
both hands as in No. 5 arm plate. 4 Point upward to the left and look 
toward the right. 5 Both hands in front of face — palms outward — send 
them apart. 6 Turn both hands — palms up. " Take three steps to the 
right — shake hand — position as in No. 7 hand plate. 8 Both hands out — 
palms up — look about. 8 No. 7 hand plate. 10 Both arms wide apart and 
out. u Shake the right index finger downward. I2 No. 5 arm plate — 
look around. 13 Repeat 12 . 14 Forcible downward gesture on the two em- 
phatic words. 15 No. 12 hand plate. IU Both arms open. 17 Bring right 
fist down strongly. 18 Slap the left palm with the right three times. 
19 Quick turn to the right — hand extended. 20 No. 12 hand plate. 21 No. 
5 arm plate. 22 Right arm out straight— shake the hand. 23 Drop hand 
and retire two steps. 24 Both hands extended to front. 25 Draw yourself 
to full height — strike the breast several times. 26 Bring fist downward 
on the first "never" — then shake the fist in the air on the others (never). 



ORDINARY 



93-ON NAPOLEON BONAPARTE. 

Charles Phillips. 
He is fallen! 1 We may now pause before that 
™tone7" splendid prodigy, which 2 towered amongst us 
like some ancient ruin, whose frown | terrified the 
glance its magnificence attracted. 3 Grand, 
gloomy, and peculiar, he sat upon the throne, a 
sceptred hermit, wrapped in the solitude of his 
own originality. 4 A mind told, independent, and 
decisive* — a will, | despotic in its dictates, — 
an energy that distanced expedition, and a con- 
science | pliable to every touch of interest, marked 
the outline of this extraordinary character — 6 the 
most extraordinary, perhaps, that, in the annals 
of the world, ever 7 rose, or reigned, or fell. 



218 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUDER. 



EMPHA- 
SIZE. 



CLIMAX 
LOUD. 



Flung 8 into life in the midst of a Revolution j 
that quickened every energy of a people who ac- 
knowledged no superior, he commenced his course 
a stranger by birth and a scholar by charity. 
With no friends but his sword? and no fortune 
but his talents, he rushed 16 into the lists where 
rank and genius had arrayed themselves; and 
competition fled from him as from the glance of 
destiny. He knew 11 no motive but interest — he 
acknowledged no criterion but success — he wor~ 
shipped no God 12 but ambition; and with an East- 
ern devotion he knelt at the altar 13 o*f his idolatry. 
Subsidiary to this, there was no creed that he did 
not profess — there was no opinion that he did not 
promulgate. In the hope of a dynasty, he 14 up- 
held the Crescent; for the sake of a divorce, he 
bowed 15 before the Cross ; the orphan of St. Louis, 
he became the adopted child of the Republic ; and, 
with a parricidal ingratitude, 16 on the ruins both 
of the crown and the tribune, he reared 17 the 
throne of his despotism. A professed Catholic, 18 
he imprisoned the Pope; a pretended patriot, he 
impoverished the country ; and under the name of 
Brutus, he 19 grasped without remorse, and wore 
without shame, the ^diadem of the Casars! 

21 Cradled in the field, he was to the last hour 
the darling of the army ; and whether in the camp 
or the cabinet, he never forsook a friend, or for- 
got a favor. Of all his soldiers, not one abandoned 
him, till affection was useless; and their 22 first 
stipulation was | for the safety of their favorite. 
They knew well that, if he was lavish of them, 
he was prodigal of 23 himself; and that if he exposed 
them to peril, he repaid them with plunder. For 
the soldier, 241 he subsidized every people; to the 
people, he made even pride pay tribute. The 
victorious veteran glittered with his gains ;,"iul 
the capital, 25 gorgeous with the spoils of art, be- 
came the miniature metropolis of the universe. 
In this wonderful combination, his affectation of 
literature must not be omitted. The gaoler of 



ON NAPOLEON BONAPARTE. 



219 



QUICK IN- 
CREASE 
TONE. 



MORA L. 



the press, 26 he affected the patronage of letters; 
the proscriber of books, he encouraged philosophy; 
the persecutor of authors, and the murderer of 
printers, he yet pretended to the patronage of 
learning. Such a medley of contradictions, and at 
the same time such an individual consistency, 
were never united in the same character. 27 A 
royalist, | a republican, and an emperor | a Mahom- 
etan, | a Catholic, | and a patron of the Syna- 
gogue, | a traitor and a tyrant, | a Christian and 
an Infidel — he was, through all his vicissitudes, 
the same, 28 stern, impatient, inflexible original 
— the same mysterious, incomprehensible self — 
the man without a model, and without a shadow. 
29 His fall, like his life, baffled all speculation. 
In short, his 30 whole history was like a dream to 
the world ; and no man can tell how or why he was 
awakened from the reverie. 

31 Kings may learn from him | that their safest 
study, as well as their noblest, is — the interest of 
the people; the 32 people are taught by him that 
there is no despotism, however stupendous, against 
which they have not a resource; and to those who 
would rise 33 upon the ruins of both, he is a living 
lesson, that, if ambition can raise them from 34 the 
lowest station, it can also prostrate 35 them from 
the highest. 



1 No. 2 hand plate on the word "pause." 2 Elevate hand perpendicu- 
larly. 3 No. 8 arm plate. * Touch forehead. 5 Touch head again. 6 Wave 
left hands downward in front — palms up. T Elevate hand and drop it. 
8 Walk three steps to the left — both hands toward audience. 9 Touch 
left side of body where sword should hang. 10 Step forward — throw hands 
outward. " Hand on breast. 12 Point upward. 13 Point downward. 
14 Close left hand and hold it over head. 15 Right hand to breast — bow 
head. 16 Point down. 17 Raise the hand. 18 Turn to right — use No. 1 
hand plate. 19 Gesture of grasping. 20 Make circular movement with 
finger for the crown. 21 Both hands in front — palms up. 22 No. 12 hand 
plate. 23 Touch the breast. 2i No. 1 hand plate. 25 No. 5 arm plate. 
26 Left hand, No. 6 arm plate — afterward swing arm to left. 27 Slight 
downward movement of right hand on the nouns following. 28 Shake 
finger. 29 Point downward. 30 Both hands in front — palms up. 31 No. 4 
arm plate. 32 No. 5 arm plate. 33 Hands hanging — bring them up higher 
than head. 34 Send hand up. 35 Send the hand down. 



220 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



ORATORI- 
CAL. 



ASSUME A 
SERIOUS 
MANNER. 



EMPHATIC. 



94-SPEECH OF SERJEANT BUZFUZ. 

Charles Dickens. 

Never/ in the whole course of my professional 
experience — never, from the very first moment 
of my applying myself to the study and practice 
of the law — have I approached a case with feel- 
ings of such deep emotion, or with such a heavy 
sense of the responsibility imposed upon me; 2 
a responsibility, I will say, which I could never 
have supported, were I not buoyed up and sus- 
tained by a conviction 3 so strong, that it amounts 
to positive certainty, that the cause of truth and 
justice, or, in other words, the cause of my much 
injured and most Oppressed client, must prevail 
with the high-minded and intelligent 5 dozen of 
men whom I now see in that box before me. 

6 The plaintiff, gentlemen, the plaintiff is a 
widow: yes, gentlemen, a widow. The late Mr. 
Bardell, after enjoying, for many years, the esteem 
and confidence of his sovereign, as one of the guar- 
dians of the royal revenues, glided 7 almost im- 
perceptibly from the world, to seek elsewhere for 
that repose and peace which a custom-house can 
never afford. 

With her | Hittle boy, Mrs. Bardell shrunk 
from the world, and courted the retirement 
and tranquility of Goswell street; and here 
she placed in her front parlor 10 window, a 
written placard, bearing this inscription, — 
n " Apartments, furnished, for a single gentleman. 
Enquire within/' I entreat the attention of the 
jury to the wording of this document — u Apart- 
ments, furnished, for a single gentleman!" Mrs. 
BardelFs opinions of the opposite sex, gentlemen, 
were derived from a long contemplation of 12 the 
inestimable qualities of her lost husband. 13 She 
had no fear — she had no distrust — she had no sus- 
picion. Mr. Bardell, said the widow; Mr. Bardell 



SPEECH OF SERJEANT BUZFUZ. 221 

was a man of honor — Mr. Bardell was a man of 
his word 14 — Mr. Bardell was no deceiver — 15 Mr. 
Bardell was once a single gentleman himself: 
16 to single gentlemen I look for protection* for 
assistance, for comfort, for consolation; — in 
single gentlemen I shall perpetually see some- 
thing to remind me of what Mr. Bardell was, 
1T when he first won my yonng and untried affec- 
tions; to a single gentleman, then, shall my lodg- 
ings be let. Actuated by this beautiful and touch- 
ing impulse, (among the best 18 impulses of our 
imperfect nature, gentlemen), 19 the lonely and 
desolate widow dried her tears, furnished her first 
floor, caught her innocent boy 20 to her maternal 
lqud. bosom, and put the bill up in her parlor window. 

21 Did it remain there long ? 22 No. The serpent 23 
was on the watch, | the train was laid, | the mine 
was preparing, the sapper and miner was at work. 
Before the bill had been in the window three days 
— three days, gentlemen — a being, erect upon two 24 
legs, and bearing all the outward semblance of a 
man, and not of a monster, 25 knocked at the door 
of Mrs. Bardell's house. He enquired within; 
he took the lodgings; and on the very next day 
he entered into possession of them. That man 
was 26 Pickwick — Pickwick the defendant. 

I shall show you, 27 gentlemen, that for two years 
Pickwick continued to reside constantly,, and with- 
out interruption or intermission, in Mrs. Bardell's 
house. I shall show you | that Mrs. Bardell, dur- 
ing the whole of that time, waited on him, attended 
to his comforts, cooked his meals, looked out his 
linen for the washerwoman when it went abroad, 
darned, aired and prepared it for wear, when it 
came home, and, in short, enjoyed his fullest trust 
and confidence. I shall snow you that, 28 on many 
occasions, he gave halfpence, 29 and on some oc- 
casions even sixpences, to her little boy; and I 
shall prove to you, by a witness 30 whose testi- 
mony it will be impossible for my learned friend 
to weaken or controvert, that on one occasion he 



222 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



LOUD. 



CEREMONI- 
OUS 
READING. 



EMPHAT- 
IC. 



patted the boy on the head; and, after enquiring 
whether he had won any alley tors or commoneys 
lately (both of which I understand to be partic- 
ular species of marbles much prized by the youth 
of this town), made use cf this remarkable ex- 
pression, — Z2u Hoiv should you like to have an- 
other father?" 

And now, gentlemen, but one word more. 33 Two 
letters have passed between these parties; letters 
which are admitted to be in the handwriting of 
the defendant, and which speak volumes indeed. 
These letters, too, bespeak the character of the 
man. They are not open, fervent , eloquent 
epistles, breathing nothing but the language of 
affectionate attachment. 34 They are covert, sly, 
underhanded communications; but, fortunately, 
far more conclusive than if couched in the most 
glowing language and the most poetic imagery — 
letters that must be viewed with a cautious and 
suspicious eye — letters that were evidently in- 
tended at the time, by Pickwick, to mislead and 
delude 35 any third parties into whose hands they 
might fall. Let me read the first : 36 "Garraway's, 
twelve o'clock. — Dear Mrs. B. Chops and tomato 
sauce. Yours, Pickwick/' Gentlemen, what does 
this mean ? Chops and tomato sauce ! yours, 
Pickwick! 37 Chops ! gracious heavens! and 
tomato sauce ! Gentlemen, is the happiness of a 
sensitive and confiding female to be trifled away 
by such shallow artifices as these? 38 The next 
has no date whatever, which is in itself suspicious. 
— "Dear Mrs. B., I shall not be at home till to- 
morrow. Slow coach/' And then follows this 
very remarkable expression — "Don't trouble your- 
self about the warming-pan." 39 The warming- 
pan! Why, gentlemen, who does trouble himself 
about a warming-pan? 40 When was the peace 
of mind of man or woman broken or disturbed 
by a warming-pan, which is in itself a harmless, 
a useful, and I will add, gentlemen, a comforting 
article of domestic furniture? 41 Why is Mrs. 



SPEECH OF SERJEANT BUZFUZ. 



223 



INCREASED 
TONE. 



CLIMAX. 



Bardell so earnestly entreated not to agitate her- 
self about this warming-pan, unless (as is no 
doubt the case) it is a * 2 mere cover for hidden 
fire — a mere substitute for some endearing word 
or promise, agreeably to a preconcerted system of 
correspondence, artfully contrived by Pickwick: 
with a view to his contemplated desertion, and 
which I am not in a condition to explain ? 43 And 
what does this allusion to the slow coach mean? 
For ought I know, it may be a reference to Pick- 
wick himself, who has most unquestionably been 
a criminally slow coach during the whole of this 
transaction; but whose speed will now be very 
unexpectedly accelerated, and whose wheels, gen- 
tlemen, as he will find to 44 his cost, will very soon 
be greased by you. 

45 But, gentlemen, enough of this; it is difficult 
to smile with an 46 aching heart; it is ill jesting 
when our deepest sympathies are awakened. My 
client's hopes and prospects are ruined; and it is 
no figure of speech to say that her occupation is 
gone indeed. The bill 47 is down — but there is no 
tenant. Eligible single gentlemen pass and 48 re^ 
pass — but there is no invitation for them to en^ 
quire within, or without. All is gloom and silence 
in the house ; even the voice of the child is hushed ; 
his infant sports are disregarded when his mother 
weeps. His alley tors and commoneys are alike 
neglected ; he forgets the old familiar cry of 
Jcnuclcle down! and at tip cheese J or odd and even, 
his hand is out. 50 But Pickwick, gentlemen, 
Pickwick, the ruthless destroyer of this domestic 
oasis in the desert of G-oswell street — 51 Pickwick, 
who comes before you to-day with his heartless 
tomato sauce and warming-pans — Pickwick still 
rears his head with unblushing effrontery, and 
gazes without a sigh on the ruin he has made. 
52 Damages, gentlemen — heavy damages are the 
only punishment with which you can visit him; 
the only recompense you can award to my client. 
53 And for those damages she now appeals to an 



224 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

enlightened, a high-minded, a right-feeling, a con- 
scientious, a dispassionate, a sympathizing, a con- 
templative jury of her civilized countrymen. 

1 Assume a serious but pompous manner — left hand resting on hip — 
right hand extended with elbow resting against body. 2 Strike left palm 
with right hand. 3 Right hand on breast and bending toward audience. 
4 Point to her. 5 Turn and put out both hands toward jury — bow to them. 
6 Gesticulate toward right — indicate her 7 Send right hand out front 
horizontally. 8 No. 12 hand plate. 9 Indicate his size by outstretched 
hand. 10 Point front. " Emphasize with finger the different words 
italicized. 12 Clasp hands. 13 Repeat K 14 No. 1 hand plate — bring hand 
downward. 15 Repeat. 1C Both hands out — bend forward. 17 Raise right 
hand. 18 Touch breast and bow to audience. 19 No. 1 hand plate. 20 No. 
14 hand plate. 21 Point front. 22 No. 8 hand plate — bring hand down 
forcibly. 23 Wave the index finger snake-like. 24 No. 1 hand plate — stand 
very erect. 25 Action of knocking on door. 2e Put out right hand and use 
it emphatically. 2T Both hands toward jury — keep this gesture, making it 
emphatic for six lines. 28 Turn right — right hand extended. 29 Pretend 
dropping money into hand of receiver. 30 Right hand elevated in oratorical 
fashion. 31 Imitate patting boy's head. 32 Place hands on hips — bend 
forward. 33 No. 12 hand plate. 34 Repeat 33 . 35 Point finger. 3(i Holding 
paper in hands. 37 Crushing paper in hands. 38 Open another paper. 
39 Crush that paper. 40 No. 2 hand plate — shaking hand for three lines. 
41 Left hand out — turn to left. 42 Place hand horizontally in front — palms 
down. 43 Advance to right — right hand extended. 44 Rest hands on hips — 
smile. 45 Wave right hand carelessly. 40 Hand on heart — then put right 
hand forward. 4T Elevate hand — point and drop it. 49 Sweep right hand 
from left side toward right. 50 Slap ihe right hand on the left. 51 Repeat 
the same and look around. " Advance to front and shake fist violently. 
53 No. 5 arm plate — keep gesture until the end. 



95-THE BASHFUL MAN. 

I labor 1 under a species of distress, which, I fear, 
will at length drive me utterly from this society, 
in which I am most ambitious to appear; but I 
shall give you a short sketch of my origin and 
present situation, by which you will be enabled to 
judge of my difficulties. 

NA 8TYLE r . rE 2 My father was a farmer of no great property, 
and with no other learning than what he had ac- 
quired at a charity-school; but, my mother being 
dead, and I an only child, he determined to give 
me that advantage which he fancied would have 
made him happy — that is, a learned education. 
3 I was sent to a country grammar-school, and 
from thence to the university, with a view of 
qualifying myself for holy orders. Here, having 

RA QmcK. but; a small allowance from my father, and being 
naturally of a timid, bashful disposition, I had no 
opportunity of rubbing off that native awkward- 



THE BASHFUL MAN. 225 

ness, which is the fatal cause of all my unhappiness, 
and which, I now begin to fear, can never be 
amended. Yon mnst know, I am of such ex- 
medium treme* susceptibility of shame, that, on the slight- 

voice. eg |. S11 iyj ec t f confusion, my blood all rushes into 
my cheeks, 5 and I appear a perfect full-blown 
rose. The consciousness of this unhappy failing 
made me avoid society, and I became enamored 
of a college life ; particularly when I reflected that 
the uncouth manners of my father's family were 
little calculated to improve my outward conduct. 
I had therefore resolved on living at the university, 
and taking pupils; when Hwo unexpected events 
greatly altered the posture of my affairs — namely, 
my father's death, and the arrival of a rich uncle 
from the Indies. 

This uncle also died, after a short illness ; leav- 
ing me heir to all his property. 7 Ajid now, be- 
hold me, at the age of — no matter what, — well 
stocked with Latin, Greek, and mathematics — pos- 
sessed of an ample fortune — but so awkward, and 
unversed in any gentlemanlike accomplishment, 
that I am pointed at by all who see me, as the 
wealthy 8 learned clown. 

I have lately purchased an estate in the country, 
which abounds with what is called a fashionable 
neighborhood ; and when you reflect on my parent- 
age and uncouth manners, you will hardly think 
how much my company is courted by the surround- 
ing families — especially by those who have mar- 
riageable daughters. From these 9 gentlemen I 
have received familiar calls, and the most press- 
ing invitations; and though I wished to accept 
their offered friendship, I have repeatedly excused 
myself, under the pretence of not being quite 
settled; but the truth is, when I have ridden or 
walked with full intention to return their several 
visits — 10 my heart has failed me as I approached 
their gates, and I returned homewards, resolving 
to try again to-morrow. 

However, I at length determined to conquer my 



226 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



BRISK 
MOVE- 
MENT, 



NERVOUS. 



timidity, and, three days ago, accepted of an in- 
vitation to dine, this day, with one, whose open, 
easy manner left me no room to doubt a cordial wel- 
come. Sir Thomas Friendly, who lives about 
three miles distant, 11 is a baronet, with an estate 
of about two thousand pounds a year, adjoining 
that which I purchased. He has two \ small \ 
sons and five \ tall daughters, all grown up, and 
living at Friendly Hall, dependent on their father. 
Conscious of my unpolished gait, I have, for some 
time past, taken private lessons from a professor, 
who teaches 12 "grown-up gentlemen to dance;" 
and although I at first found wondrous difficulty 
in the art he taught, yet my knowledge of the 
mathematics was of prodigious use in teaching 
me the equilibrium of my body, and the due ad- 
justment of the centre of gravity to the five posi- 
tions. Having now acquired the art of walking 
without 13 tottering, and learned to make a bow, 
14 I boldly ventured to accept the Baronet's invita- 
tion to a family dinner; not doubting but my 
new acquirements would enable me to see the ladies 
with tolerable intrepidity : 15 but alas ! how vain are 
all the hopes of theory, when unsupported by 
habitual practice ! As I approached the house, 
a dinner-bell alarmed my fears, lest I had spoiled 
the dinner by want of punctuality. Impressed 
with this idea, I blushed the deepest crimson, as 
my name was repeatedly announced by the several 
livery servants, who ushered me into the library, 
hardly knowing whom or what I saw. At my first 
entrance, I summoned all my fortitude, and made 
my newly-acquired bow to Lady Friendly; but, 
unfortunately, 16 bringing back my left foot into the 
third position, I trod upon the 17 gouty toe of poor 
Sir Thomas, who had followed close at my heels 
to be the nomenclator of the family. 18 The con- 
fusion this accident occasioned in me is hardly to 
be conceived, since none but bashful men can judge 
of my distress. The Baronet's politeness by de- 
grees dissipated my concern ; and I was astonished 
to see how far good-breeding could enable him to 



THE BASHFUL MAN. 



227 



VERY 
QUICK. 



LOUD. 



QUICK. 



BLOWER. 



suppress 19 his feelings, and to appear at perfect 
ease after so painful an accident. 

The cheerfulness of her ladyship, and the 
familiar chat of the young ladies, insensibly led 
me to throw off my reserve and sheepishness, till, 
at length, I ventured to join in the conversation, 
and even to start fresh subjects. The library 
being richly furnished with books in elegant bind- 
ings, I conceived Sir Thomas to be a man of litera- 
ture ; and ventured to give my opinion concerning 
the several editions of the Greek classics — in 
which the Baronet's ideas exactly coincided with 
my own ! To this subject I was led by observing an 
20 edition of Xenophon, in sixteen volumes; which 
(as I had never before heard of such a thing) 
greatly excited my curiosity, and I approached fo 
examine what it could be. Sir Thomas saw what 
I was about, and (as I supposed) willing to save 
me trouble, rose to take down the book, which 
made me more eager to prevent him; and, hastily 
laying my hand on the first volume, 21 I pulled it 
forcibly — when, lo ! instead of books, a board, 
which, by leather and gilding, had been made to 
look like sixteen volumes, came tumbling down, 22 
and, unlucky, pitched upon a Wedgewood inkstand 
on the table under it. In vain did Sir Thomas 
assure me there was no harm done. I saw the ink 
streaming 23 from an inlaid table on the Turkey 
carpet ; and, scarce knowing what I did, attempted 
to stop its progress with my cambric handkerchief. 
In the height of this confusion, we were informed 
that dinner was served up. 

24 In walking through the hall and suite of apart- 
ments to the dining-room, I had time to collect 
my scattered senses; till I was desired to take my 
seat at table, betwixt Lady Friendly and her eldest 
daughter. Since the fall of the wooden Xenophon, 
my face had been continually burning like a fire- 
brand : and I was just beginning to recover myself, 
and to feel comfortably cool, when an unlooked- 
for accident rekindled all my heat and Ylushes. 
Having set my plate of soup too near the edge of 



228 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 

the table, in bowing to Miss Dinah, who politely 
complimented the pattern of my waistcoat, I 
tumbled the whole scalding 25 contents into my lap. 
In spite of an immediate supply of napkins to 
wipe the surface of my clothes, they were not 
stout enough to save me from the painful effects 
of this sudden fomentation, and, for 26 some min- 
utes, my legs and thighs seemed stewed in a boil- 
ing caldron ; but recollecting how Sir Thomas had 
disguised his torture when I trod upon his gouty 
toe, I firmly bore my pain in silence, and sat with 
my lower extremities parboiled, amidst the stifled 
giggling of the ladies and servants. I will not re- 
late the several blunders which I made during the 
E ^Aon ERA ~ ^ rs ^ co " ln ' se ; or the distresses occasioned by my 
being desired to carve a fowl, or help to various 
dishes that stood near me, spilling a sauce-boat, 
and knocking down a salt-cellar; rather let me 
hasten to the second course, where fresh disasters 
quite overwhelmed me. 

27 I had a piece of rich sweet pudding on my 
fork, when Miss Louisa Friendly begged to trouble 
me for part of a pigeon that stood near me. In 
my haste, scarce knowing what I did, I whipped 
the pudding 28 into my mouth — hot as a burning 
coal ! it was impossible to conceal 29 my agony ; 
my eyes were starting from their sockets ! At last, 
in spite of shame and resolution, I was obliged to — 
drop the cause of torment on my plate. Sir 
Thomas and the ladies all compassionated my 
misfortune, and each advised a different applica- 
tion. One recommended oil, another water, but 
all agreed that wine was perhaps the best for draw- 
ing out the heat ; and a glass of sherry was brought 
me from the sideboard — I snatched it up with 
eagerness: but oh! 32 how shall I tell the sequel? 
Whether the butler by accident mistook, or pur- 
posely designed to drive me mad, I know not ; but 
he gave me the strongest brandy, with which I 
filled my mouth, already flayed and blistered. 
Totally unused to every kind of ardent spirits, 



THE BASHFUL MAN. 229 

with my tongue, throat, and palate as raw as beef, 
quick. what could I do? 32 I could not swallow, and, 

clapping my hands upon my mouth, the burning- 
liquor squirted through my nose and fingers, like 
a fountain, over all the dishes, and I was crushed 
by bursts of laughter from all quarters. In vain 
did Sir Thomas reprimand the servants, and Lady 
Friendly chide her daughters ; the measure of my 
shame and their diversion was not yet complete. 
To relieve me from the intolerable state of perspira- 
tion which this accident had caused, without con- 
sidering what I did, I wiped my face with that 
ill- 33 fated handkerchief, still wet from the con- 
sequences of the fall of Xenophon, and covered 
my features with streaks of ink in every direc- 
tion! The Baronet himself could not support 
this shock, but 34 joined his lady in the general 
laugh ; while I sprang 35 from the table in despair, 
rushed out of the house, 36 and ran home, in an 
agony of confusion and disgrace, which the most 
poignant sense of guilt could not have evcited. 

37 Let me entreat that you will not add to my 
sufferings by ungenerous ridicule; or still further 
increase my unhappy notoriety, by making my in- 
firmity, at any future time, the subject of your 
conversation. 

1 Hands behind back — display nervous movements of hand — head turn- 
ing from side to side. 2 Walk three steps to right whilst talking — hands 
carelessly clasped downward as in No. 11 hand plate. 3 Right hand out. 
4 Opened hand on breast — bow to audience. 5 Touch cheek. 6 Raise up 
two fingers — emphasize gesture. 7 No. 5 arm plate. 8 Step back — bend 
forward — point in front. 9 No. 5 arm plate. 10 Hand on heart — sigh — 
droop the head. u Point to right. 12 Make an awkward movement of 
some dancing turns. 13 Walk about stage with much ceremony — bow very 
low and extravagantly. 14 Both hands extended — look around. 15 Drop 
hands — look of dejection. 16 Step back with right foot — bow. 17 Spring 
forward — throw up both hands. 18 Walk up and down excitedly — shaking 
the hands. 19 Place hand on breast. 20 Point to the left. 21 Advance four 
steps to the left — put out hand hastily to take book. 22 Let both hands 
drop from the head downward. 23 Point down. 24 Sweep the right hand 
from the breast outward to the right. 25 Look down at clothing — use 
No. 7 arm plate. 26 Feel and rub the legs nervously. 27 Raise closed hand 
in front of face — turn the hand several times. 28 Open the mouth — ap- 
proach hand to mouth. 29 Press each cheek with palm. 30 Turn to the 
right — put out right hand — then turn to the left — use left hand. 31 Wave 
hands upward and downward in front of face. 32 Grasp the throat — then 
the mouth — repeat the action. 33 Action of wiping face with handker- 
chief. 34 Place hands on hips — laugh extravagantly. 35 Rush three steps 
down stage. 36 Step to right — swing out right arm. 37 No. 5 arm plate — 
bend toward audience — keep position till end. 



230 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



SUSPICION. 



SURPRISE. 



SAD. 



LOUD. 



96-CARDINAL WOLSEY ON HIS FALL. 

Shakespeare. 
What means this sudden anger in the king? 1 
How have I reap'd it ? He parted frowning from 
me, giving me this paper. 2 I must read it, for I 
fear the story of his anger. — It is so; 3 this paper 
has undone me ! — 'tis the account of all that 
world of wealth I have drawn together for mine 
own ends; indeed, to gain the popedom, and fee 
my friends in Eome. negligence, fit for a fool 
to fall by ! 4 What cross devil made me put this 
main secret in the packet I sent the king? 5 Is 
there no way to cure this? no new device. to beat 
this from his brains? I know, 'twill stir him 
strongly; yet I know a way, if it take right, in 
spite of fortune will bring me off again. — 6 What's 
this — "To the Pope?" the letter, as I live, with 
all the business I writ to his holiness ! 7 Nay, 
then, farewell ! I have touch'd the highest point of 
all my greatness: and from that full meridian of 
glory, I haste now to my setting. I shall fall like 
a bright exhalation in the evening, and no man 
see me more. The king commands to render up 
the great seal presently. 8 Farewell, a long fare- 
well, to all my greatness! This 9 is the state of 
man; to-day he puts forth the tender leaves of 
hope, to-morrow blossoms, and bears his blushing 
honors thick upon him: 10 the third day, comes a 
frost, a killing frost; and, — when he thinks, good 
easy man, full surely his greatness is a-ripening,— - 
11 nips his root, and then he falls, as I do. I have 
ventur'd, like little wanton boys that swim on 
bladders, these many summers in a sea of glory; 
but far 12 beyond my depth: my high-blown pride 
at length 13 broke under me ; 14 and now has left me, 
weary, and old with service, to the mercy of a 
rude stream, that must for ever hide me. Vain 
pomp, and glory of this world, 15 I hate you! I feel 
my 16 heart new opened; 0, how wretched is that 
poor man, that hangs on prince's favors ! There 
is, betwixt 17 that smile he would aspire to, that 



CARDINAL WOLSEY ON HIS FALL. 



231 



PATHOS. 



DIRECT. 



ADVICE. 



VERY IN- 
TENSE. 



sweet aspect of princes and his ruin, more pangs 
and fears than wars or women have; and when 
he falls, he falls like 18 Lucifer, never to hope again. 
Cromwell, I did 19 not think to shed a tear in all 
my miseries; but thou hast forced me out of thy 
honest truth to play the woman. 20 Let's dry our 
eyes: and thus far hear me, Cromwell; and, — 
when I am forgotten, as I shall be, 21 and sleep in 
dull cold marble, where no mention of me more 
must be heard of, — say, 22 I taught thee ; say Wol- 
sey, — that once trod the ways of 23 glory, and 
sounded all the depths and shoals of honor, — 
found thee a way, out of his wreck, to rise in; a 
sure and safe one, though thy master miss'd it. 
24i Mark but my fall, and that which ruin'd me. 
Cromwell, I charge thee, 25 fling away ambition; 
by that sin fell the angels ; how can man, then, the 
image of his. Maker, hope to win by't? 26 Love 
thyself last; cherish those hearts that hate thee; 
corruption wins not more than honesty. 27 Still 
in thy right hand carry gentle peace, to silence 
envious tongues. 28 Be just, and fear not: let all 
the ends thou aim'st at be, thy 29 country's, thy 
God's, and truth's; then if thou fall'st, Crom- 
well^ thou fall'st a blessed martyr. Serve the 
king; and, 30 pr'ythee, lead me in: there take an 
inventory of all I have; to the last penny 'tis the 
king's ; my robe, and my integrity to Heaven, is all 
I dare now call mine own. 31 Cromwell, Crom- 
well, had I but servd my God with half the zeal T 
serv'd my king, He would not 32 in mine age have 
left me naked to mine enemies. 



1 Look front intently — hands as if holding packet. 2 Looking down 
at hands. 3 Opens packet— close the eyes. 4 Shake right fist. 5 Bring 
hand to chin. 6 Looking again at packet. 7 Drop hands — stand dejected- 
ly. 8 No. 11 hand plate — look up. 9 No. 1 hand plate. 10 No. 7 hand 
plate. xx Quietly snap the fingers. 12 Point outward. 13 Drop the hand. 
14 Bring hands to breast — shake the head. 15 Throw both hands upward 
and outward forcibly. 16 Both hands on heart. 17 Shake finger deliber- 
ately. 18 Point downward. 19 Step slowly to left — left hand extended — 
palm down. 20 Rub cheek. 21 Point down. 22 Touch breast — stand very 
erect. 23 Shake hand upward. 24 Touch left palm with the right. 25 Throw 
arms widely apart. 26 Bend forward — touch breast. 27 Hold up right 
hand clinched. 28 No. 7 hand plate. 20 Put out right hand — then point 
up — then touch breast. 30 Hands out — touch face — becoming weak. 
81 Shake the head and clasped hands. 32 Cross arms over breast. 



232 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
97-FROM THE PLAY OF THE "IRON CHEST." 

[Two Speakers: Sir Edward Mortimer and Wil- 
ford.] 

Sir E. Wilford, 1 approach me. — What am I 
say for aiming at your life? — Do you not scorn 
me, despise me for it? 

Wilf. I ! Oh, sir ! 2 

Sir E. You must; 3 for I am sighted from the 
herd of men, a vile, heartbroken wretch ! 

Wilf. Indeed, indeed, Sir, 4 you deeply wrong 
yourself. Your equal's love, the poor man's 
prayer, the orphan's tear of gratitude, all follow 
you : — and I — I owe you all ! I am most bound to 
bless you. 

Sir E. Mark 5 me, Wilford: — I know the value 
of the orphan's tear, the poor man's prayer, respect 
from the respected; I feel, to merit these and to 
obtain them, is to taste, here below, that thrilling 
cordial 6 which the remunerating Angel draws from 
the eternal fountain of delight, to pour on blessed 
souls that enter Heaven. I feel this : — I ! — 7 How 
must my nature, then, revolt at him who seeks to 
stain his hand in human blood ? — and yet, it seems, 
this day I sought your life. — Oh ! 8 I have suffered 
madness! None know my tortures, — pangs! — 
But I 9 can end them : end them as far as appertains 
to thee. — I have resolved it. — Fearful struggles 
tear me: but I have pondered on't, — and I must 
trust thee. 

Wilf. Your confidence shall not be broken. 

Sir E. You must 10 swear. 

Wilf. Swear, Sir ! — n will nothing but an oath, 
then 

Sir E. Listen. 12 May all the ills that wait on 
frail humanity be doubled on your head, if you 
disclose my fatal secret! May your body turn 
most lazar-like and loathsome; and your mind 
more loathsome than your body ! May those fiends 
who strangle babes for very wantonness, shrink 
back and shudder at your monstrous crimes, and, 
shrinking, curse you ! Palsies strike your youth ! 



FROM THE PLAY OF THE "IRON CHEST." 



233 



VERT LOUD 



INTENSE. 



QUICK AXD 
LOUD. 



and the sharp terrors of a guilty mind poison your 
aged days ! while all your nights, as on the earth 
you lay your houseless head, out-horror horror! 
May you quit the world abhorred, self hated, hope- 
less for the next — your life a burden, and your 
death a fear ! 

Wilf. 13 For mercy's sake, forbear ! you terrify 
me ! 

Sir E. Hope this may fall upon thee : — 14 swear 
thou hop'st it, by every attribute which heaven or 
earth can lend to bind and strengthen conjura- 
tion, if thou betray' st me. 

Wilf. [After a pause.'] 15 I swear, by all the ties 

that bind a man, divine or human, never to 

divulge! 

Sir E. Eemember 16 you have sought this secret : 
yes, extorted it. I have not thrust it on you. 'Tis 
big with danger to you ; and to me, while I prepare 
to speak, torment unutterable ! 17 Know, Wilford, 
that 0, torture! 

Wilf. Dearest sir ! 18 collect yourself This 
shakes you horribly : you had this trembling, it is 
scarce a week, at Madam Helen's. 

Sir E. There it is — her uncle 19 

Wilf. Her uncle ! 

Sir E. Him.. She knows it not; — none know 
it. — 20 You are the first ordained to hear me say, I 
am — 21 h is m urde re r. 

Wilf. horror ! 22 

Sir E. His assassin. 

Wilf. What ! you that — mur — the murderer — 
23 I am choked! 

Sir E. Honor, 24 thou blood-stained god! at 
whose red altar sit war and homicide : ! to what 
madness will insult drive thy votaries ! In truth, 
in the world's range, there does not breathe a man, 
whose brutal nature I more strove to soothe with 
long forbearance, kindness, courtesy, than his who 
fell by me. But he disgraced me, stained me 25 oh, 
death and shame! — the world looked on, and saw 
this sinewy savage strike me down, rain blows 
upon me, drag me to and fro, on the base earth, 



234 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



like carrion. Desperation, in every fibre of my 
frame, cried 26 Vengeance! I left the room which he 
had quitted: chance, (curse on the chance!) while 
boiling with my wrongs, thrust me against him, 
darkling, in the street — 21 I stabbed him to the 
heart — and my oppressor rolled lifeless, at my foot. 
Wilf. Oh ! mercy on me ! 28 How could this 
deed be covered? 

Sir E 29 Would you think it? E'en at the mo- 
ment when I gave the blow, butchered a fellow crea- 
' turein the dark, I had all good men's love. But my 

quick. disgrace, and my opponent's death thus linked 

with it, demanded notice of the magistracy. They 
summoned me, as friend would summon friend, 
to acts of import and communication. We met 
— and 'twas resolved, to stifle rumor, to put me 
on my trial. No accuser, no evidence appeared, 
to urge it on — 'twas meant to clear my fame. — 
How clear it then? How cover it? — you say. — 
Why, by a lie — 30 guilt's offspring, and its guard. 
I taught this breast, which truth once made her 
throne, to forge a lie, this tongue to utter it; — 
rounded a tale, smooth as a Seraph's song from 
Satan's mouth; so well compacted, that the o'er- 
thronged court disturbed cool Justice in her judg- 
ment-seat, by shouting 31 " Innocence!" ere I had 
finished. The court enlarged me; and the giddy 
rabble bore me, in triumph, home. 32 Ay! — look 
upon me — I know thy sight aches at me. 

Wilf. Heaven 33 forgive you ! It may be wrong 
— indeed I pity you. 

scorn. Sir E. I disdain all pity, — 34 I ask no consola- 

tion. Idle boy ! think'st thou that this compulsive 
confidence was given to move thy pity? — Love of 
fame (for still I cling to it), has urged me, thus 
to quash thy curious mischief in its birth. Hurt 
honor, in an evil cursed hour, drove me to murder 
— lying ; — 'twould again ! My honesty, — sweet 35 
peace of mind, — all, all, are bartered for a name. 
I will maintain it Z 36 — Should Slander whisper o'er 
my sepulchre, and my soul's agency survive in 
death, I could embody it with heaven's lightning, 



CLIMAX. 



FROM THE PLAY OP THE "IRON CHEST." 



235 



SURPRISE. 



STRONG. 



and the hot shaft of my insulted spirit should 
strike the blaster of my memory dead, in the 
churchyard. 37 Boy, I would not kill thee; thy 
rashness and discernment threatened danger! to 
check them there was no way left but this — save 
one — your death: — you shall not be my victim. 

Wilf. My death! 38 What, take my life? — my 
life ! to prop this empty honor ? 

Sir. E. Empty ? Grovelling food ! 

39 Wilp. I am your servant, Sir, child of your 
bounty, and know my obligation. I have been 
too curious, haply : 'tis the fault of youth — I ne'er 
meant injury: if it would serve you, I would lay 
down my life : 40 I'd give it freely : could you then 
have the heart to rob me of it ? You could not — 
should not. 

Sir E. How? 

Wilf. You dare not. 41 

Sir E. Dare not ! 

Wilf. Some hours ago, you durst not. ^Pas- 
sion moved you — reflection interposed, and held 
your arm. But, should reflection prompt you to 
attempt it, my innocence would give me strength 
to struggle, and 43 wrest the murderous weapon from 
your hand. How would you look to find a peas- 
ant boy return the knife you levelled at his heart ; 
and ask you which in heaven would show the best 



rich man 



honor ^ or a poor 45 mans honesty 



1 Sir Edward, who is standing on right side of stage facing audience, 
beckons Wilford, who is on the left side. 2 Hang the head. 3 Left hand, 
No. 1 hand plate. 4 Right hand, No. 1 hand plate. 5 Lef t hand, No. 7 
hand plate. 6 Point upward. 7 Hand on breast. 8 Both hands clasping 
head. 9 Turn toward W. — left hand extended. 10 Bring down forcibly 
the right hand on "swear." 1X Advance to Sir E. 12 Turn full upon him— 
raise hand threateningly — keep it shaking till end of speech. 13 Bend 
toward Sir E., clasping hand. 14 Pointing up — eyes glaring. 15 Raise 
hand in act of swearing. ie Left hand, No. 1 hand plate. 17 Clasp hands 
in anguish — cross quickly down to left corner and back to position. 18 Fol- 
lowing Sir E. — hands extended. 19 Quickly turn to him. 20 Point to 
Wilford. 21 Hands on breast — look up. 22 Clasp hands. 23 Clutch throat. 
24 No. 5 arm plate. 25 Both hands to head. 26 Raise up quickly right arm. 
27 Plunge forward — stabbing downward. 28 Clasping hands. 29 Left hand, 
No. 1 hand plate. 30 Clinch both hands and drop them by the sides. 31 Wave 
right hand in air. 32 Cover face with hands. 33 Shake head sadly. 34 Walk 
down to right corner — return — left hand out. 35 Hand on breast, then 
on the forehead. 36 Point down. 37 Approach W. — both hands in the posi- 
tion of grasping. 38 Step backward in surprise. 39 Lay hand over heart. 
40 Advance toward Sir E. — arms wide apart. 41 Elevate hand — stand erect. 
42 Right hand, No. 2 hand plate. 43 Snatch arm back quickly. ** No. 4 
arm plate. 45 Hand on breast. 5 



236 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



COMMAND. 



SCORN. 



98-FROM THE PLAY OF "WILLIAM TELL." 

Knowles. 

^Four Speakers: Tell, Albert, (his son), Gessler, 
Sarnem, and Attendant.] 

Sar. [To Tell] Behold the governor. 2 Down, 
slave, npon thy knees, and beg for mercy. 

Ges. Does he hear ? 

Sar. He does, but braves thy power. z Down, 
slave, and ask for life. 

Ges. [To Tell] Why speak'st thou not? 

Tell. For wonder! 4 Yes, for wonder — that 
thou seem'st a man. 

Ges. What should I seem ? 

Tell. A monster! 

Ges. Ha ! Beware ! — think on thy chains. 

Tell. Think on my chains! 5 How came they 
on me? 

Ges. Dar'st thou question me ? 6 Beware my 
vengeance. 

Tell. Can it more than hill? 

Ges. Enough; it may do that. 

Tell. No, not enough : — 7 it cannot take away the 
grace of life — the comeliness of look that virtue 
gives — its port erect, with consciousness of truth — 
its rich attire of honorable deeds — its fair report 
that's rife on good men's tongues: — it cannot lay 
its hand on these, no more than 8 it can pluck his 
brightness from the sun, or with polluted finger 
tarnish it. 

Ges. But it may make thee writhe. 

Tell. 9 It may, and I may say, "Qo onl" though 
it should make me groan again. 

Ges. Whence com'st thou? 

Tell. From the mountains; 10 there they watch 
no more the avalanche. 

Ges. Why so? 

Tell. Because they look for n thee! The hur- 
ricane comes unawares upon them: from its bed 
the torrent breaks and finds them in its track 

Ges. What then? 



FROM THE PLAY OP "WILLIAM TELL. 



237 



SCORN. 



FEAR, 



GUTTURAL. 



Tell. They thank 12 kind Providence it is not 
thou ! — Thou hast perverted nature in them. The 
earth presents her fruits to them, and is not 
thanked. 13 There's not a blessing Heaven vouch- 
safes them, but the thought of thee doth wither 
to a curse — as something they must lose, and had 
far better lack. 

Ges. 'Tis well. I'd have them as their hills — 
that never smile, though wanton summer tempt 
them e'er so much. 

Tell. But they do sometimes smile. 

Ges. Ah ! — when is that ? 

Tell. When they do pray for vengeance! and 
the true hands are 14 lifted up to Heaven, on every 
hill, for justice on thee! 

Ges. [To Sarnem.~] Now will I take exquisite 
vengeance. [To Tell.'] I would see thee make a 
trial of thy skill with that 15 same bow. 'Tis said 
thy arrows never miss. 

Tell. What is the trial? 

Ges. Thou look'st 16 upon thy boy as though in- 
stinctively thou guessedst it. 

Tell. Look upon my boy ! 17 What mean you ? 
Look upon my boy as though I guessed it ! — 
Guessed at the trial thou wouldst have me make ! 
— Guessed it instinctively ! Thou dost not mean ! 
— 18 no, no ! — Thou wouldst not have me make a 
trial of my skill upon my child ? Impossible ! 
I do not guess thy meaning. 

Ges. 19 Fd see thee hit an apple on his head, 
three hundred paces off. 

Tell. Great Heaven ! 

Ges. On this condition I will spare his life and 
thine. 

Tell. Ferocious monster ! 20 make a father mur- 
der his own child ! — 'Tie beyond horror ! 'tis too 
much for flesh and blood to bear ! 

Ges. Dost thou consent? 

Tell. My hands 21 are free from blood, and have 
no gust for it, that they should drink my child's. 

I'll not murder my boy for Gessler! 



2&8 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



PLEADING. 



SARCASM. 



CONVERSA- 
TIONAL. 



Boy. 22 You will not hit me, father. You'll be 
sure to hit the apple. Will you not save me, 
father ? 

Tell. Lead me forth — I'll make the trial. 

Boy. Father 23 

Tell. Speak not to me ; 24 — let me not hear thy 
voice — thou must be dumb, and so should all 
things be — Earth should be dumb, and heaven, 
unless its thunder muttered at the deed, and sent 
a bolt to stop it. — 25 Give me my bow and quiver. 

Ges. Th,en all is ready. Sarnem, measure 
hence the distance — three hundred paces. 

Tell. Will he do it fairly? 

Ges. What is't to thee, fairly or not? 

Tell. 0, nothing! a little thing! a very little 
thing! I only shoot at my child! [Sarnem pre- 
pares to measure.] 26 Villain, stop ! You measure 
against the sun. 

Ges. And what of that ? What matter whether 
to or from the sun ? 

Tell. I'd have it at my back. The sun should 
shine upon the mark, and not on him that shoots : 
— / will not shoot against the sun. 

Ges. Give him his way. 

[Sarnem paces and goes out.'] 

Tell. I should like to see the apple I must hit. 

Ges. There, take that. 27 

Tell. You've picked the smallest one. 

Ges. I know I have. Thy skill will be the 
greater if thou hittest it. 

Tell. True!— True! I did not think of that. 
I wonder I did not think of that. A larger one 
had given me a chance to save my boy. — 28 Give 
me my bow and quiver. 

Ges. ..[To an attendant.] Give him a single 
arrow. 

Tell. [Looks at it, and breaks it.] Let me see 
my quiver. It is not one arrow in a dozen I 
would use to shoot with at a dove, much less a 
dove like that. 

Ges. Show him the quiver. 



FROM THE COMEDY OF "THE RIVALS.'' 



239 



quiet in- [Sarnem takes the apple and leads out the boy 

tensity. j. Q pj ace ifi em j meanwhile Tell conceals an 

arrow under his garment. He then selects 

another arrow.] 

Tell. Is the boy ready ? 29 Keep silence now for 

Heaven's sake, and be my witnesses, that, if his 

life's in peril from my hand, 'tis only for the 

chance of saving it. For mercy's sake, | keep 

motionless and silent! 

[He aims and shoots in the direction of the boy. 

Sarnem enters with the apple on the arrow's 

point.'] 

Sar. The boy is safe — no hair of him is touched ! 

Tell. 30 Thank Heaven ! \_As he raises his arms 

the concealed arrow falls.] 

Ges. Unequalled archer! Ha! why this con- 
cealed 1 ? 
very loud. Tell. 31 To kill thee, tyrant, had i slain 

MY BOY. 



1 Positions are : Sarnems, right corner ; Gesser, right center ; Tell, left 
center ; Albert, left corner — supposed to be facing audience. 2 Point down. 
3 Repeat gesture. 4 Arms folded. 5 Put out both arms. 6 Shake fist. 
7 No. 5 arm plate. 8 Point upward. 9 Arms folded. lCT Point upward to 
back of stage. u Point directly at Gesser. 12 Both hands raised up. 
13 Point up again. 14 Shaking finger — No. 4 arm plate. 15 Point to Tell's 
shoulder. 16 Point at Albert. 1T Look around. 18 Clasp hands in anguish. 
19 Point at Albert's head. 20 Rush quickly toward Gesser. 21 Look at 
hands. 22 Both hands extended toward Tell. 23 Advance near Tell — clasp 
hands. 2i Left hand as in No. 6 hand plate. 25 Quick turn up stage. 
26 Raise hand. 2T Hands apple. 2S Puts out hand to take them. 29 Goes 
up stage — takes position — with left hand motions for silence. 30 Clasp 
hands — put them up — look up — drops arrow. 31 Come down stage and 
shake finger at Gesser. 



FROM THE COMEDY OF "THE 



RIVALS." 

Sheridan. 



[Four Speakers: Sir Anthony Absolute, Captain 
Absolute, Fag, and Boy.] 

Fag. Sir, 1 there is a gentleman below desires to 
see you. — Shall I show him into the parlor ? 

Abs. Ay — you may. 2 But stay ; who is it, Fag ? 

Fag. Your father, sir. 



240 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



PLEASANT, 



COMPLA- 
CENT. 



AMAZE. 

MENT. 



Abs. You puppy ! 3 why didn't you show him up 
directly? [Exit Fag.] Now for a parental lec- 
ture. — [Enter Sir Anthony Absolute.] — 4 Sir, I 
am delighted to see you here, looking so well! 5 
Your sudden arrival at Bath made me apprehen- 
sive for your health. 

Sir Anth. Very apprehensive, I dare say, Jack. 
— What, 6 you are recruiting here, eh? 

Abs. Yes, sir, I am on duty. 

Sir Anth. Well, Jack, I am glad to see you, 7 
though I did not expect it ; for I was going to write 
to you on a little matter of business. — Jack, I have 
been considering that I grow old and infirm, and 
shall probably not trouble you long. 

Abs. Pardon me, sir, I never saw you look more 
strong and hearty. 

Sir Anth. Well, then, Jack, I -have been con- 
sidering that I am so strong and hearty, I may 
continue to plague you a long time. Now, 8 Jack, 
I am sensible that the income of your commission, 
with what I have hitherto allowed you, is but a 
small pittance for a lad of your spirit. 

Abs. Sir, you are very good. 

Sir Anth. And it is my wish, while yet I live, 
to have my boy make some figure in the world. 
I have resolved, therefore, to fix you 9 at once in a 
noble independence. 

Abs. Sir, your kindness overpowers me; — 10 I 
cannot express the sense I have of your munifi- 
cence. — Yet, sir, I presume you would not wish 
me to quit the army? 

Sir Anth. Oh, that shall be as your wife 
chooses. 

Abs. My wife, sir! 11 

Sir Anth. Ay, ay, settle that between you — 
12 settle that between you. 

Abs. A wife, sir, did you say? 

Sir Anth. Ay, 13 a wife — did I not mention her 
before ? 

Abs. Not a word of her, sir. 

Sir Anth. I mustn't forget her, though. — Yes, 




THE SPANISH MOTHER. 

(See page 31.) 



FROM THE COMEDY OP "THE RIVALS. 



241 



QUICK 
DIA- 
LOGUE. 



DECIDED. 



LOUD 

PASSION- 
ATE 



14 Jack, the independence I was talking of is by 
marriage; — the fortune is saddled with a wife — 
but I suppose that makes no difference. 

Abs. Sir ! You amaze me ! 

Sir Anth. Why, what's the matter with the 
fool ? 15 Just now you were all gratitude and duty. 

Abs. I was, sir ; — you talked to me of independ- 
ence and a fortune, but not a word of a wife. 

Sir Anth. Why, what difference does ' that 
make ? Tut, tut, sir ! if you have the estate, 16 you 
must take it with the live stock on it, as it stands. 

Abs. Pray, 17 sir, who is the lady? 

Sir Anth. 18 What's that to you, sir? — 16 Come, 
give me your 'promise to love and to marry her 
directly. 

Abs. Sure, sir, this is not very reasonable, to 
summon my affections lor a lady I know nothing 
of! 

Sir Anth. I am sure, sir, 'tis more unreasonable 
in you to object to a lady you know nothing of. 

Abs. 20 Then, sir, I must tell you plainly, once 
for all, that on this point I cannot obey you. 

Sir Anth. Hark'ee, Jack; — 21 I have heard you 
for some time with patience— I have been cool — 
quite cool; 22 but take care — you know I am com- 
pliance itself when I am not thwarted; — no one 
more easily led, when I have my own way; — but | 
don't put me in a frenzy. 

Abs. Sir, I must repeat it — in this I cannot 
obey you. 

Sir Anth. Now, hang me! 23 if ever I call you 
Jack again while I live ! 

Abs. Nay, sir, but hear me. 

Sir Anth. Sir, I won't hear a word — not a 
word ! not one word ! — so give me your promise 
by a nod — and I'll tell you what, Jack, if you 
don't 24 

Abs. What, sir, promise to link myself to some 
mass of ugliness ! 

Sir Anth. 26 'Zounds! sirrah! the lady shall be 
as ugly as I choose : she shall have a hump on each 



242 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



shoulder; she shall be as crooked as the Crescent; 
her one eye shall roll like the bull's in Cox's 
museum ; she shall have a skin like a mummy, and 
the beard of a Jew — she shall be all this, sirrah ! — 
yet I will make you ogle her all day, and sit up 
all night to write sonnets on her beauty. — None 
of your sneering, puppy ! No grinning, jack- 
anapes ! 

Abs. Indeed, sir, I never was in a worse humor 
for mirth in my life. 

Sir Anth. 'Tis false, sir ! I know you are laugh- 
ing in your sleeve : 27 I know you'll grin when I am 
gone, sirrah ! 
quiet. Abs. Sir, I hope I know my duty better. 

28 Sir Anth. None of your passion, sir ! none 
of your violence, if you please ! — It won't do with 
me, I promise you. 

Abs. Indeed, sir, I never was cooler in my life. 

Sir Anth. I know you are in a passion in your 
heart ; I know you are, you hypocritical young dog ! 
but it won't do. 

Abs. Nay, sir, upon my word 

very loud. Sir Anth. So you will fly out ! 2Q Cant you be 
cool like me? What good can passion do? — 
Passion is of no service, you impudent, insolent, 
overbearing reprobate ! — There, you sneer again ! 
don't provoke me ! — but you rely upon the mildness 
of my temper — you do, you dog ! — you 30 play upon 
the meekness of my disposition ! — Yet take care — 
the patience of a saint may be overcome at last ! 
— But mark ! I give you six hours and a half to 
consider of this: if you then agree, without any 
condition, to do everything that I choose, why — 
I may in time forgive you. 31 If not, zounds ! 
don't enter the same hemisphere with me ! don't 
dare to breathe the same air, or use the same light 
with me ; but get an atmosphere and a sun of your 
own ! I'll strip you of your commission ! I'll dis- 
own you ! I'll disinherit you ! and, hang me ! 32 
if ever I call you Jack again ! [Exit.~] 

Abs. Mild, gentle, considerate father ! 33 I dare 



FROM THE COMEDY OF "THE RIVALS." 243 

not trust him with the truth, that I am already 
engaged. 

Fag. [Enters.] Assuredly, sir, your father is 
wroth to a degree ; he 34 comes down stairs eight or 
ten steps at a time — muttering, growling, and 
thumping the banisters all the way: I and the 
cook's boy stand bowing at the door — 35 rap ! he 
gives me a stroke on the head with his cane, bids 
me carry that to my master; 36 then kicking the 
poor turnspit into the area, curses us all for a 
puppy triumvirate. 

Abs. Cease your impertinence, sir. — Did you 
come in for nothing more? — Stand out of the 
way! 37 [Pushes him aside and exit.] 

Fag. So ! Sir Anthony trims my master ; and 
he vents his spleen 38 on poor Fag! — When one is 
vexed by one person, to revenge one's self on an- 
other, who happens to come in the way, is the vilest 
injustice ! Ah ! it shows the worst temper — the 
basest 

Boy. [Enters.] Mr. Fag ! Mr. Fag ! your master 
calls you. 
spirited. Fag. 39 Well, you little dirty puppy, you need 

not bawl so ! 

Boy. Quick, Mr. Fag! 

Fag. Quick! you impudent jackanapes? Am I 
to be commanded by you, too ? 40 you little imperti- 
nent, insolent, kitchen-bred 

[Exit kicking and o eating him.] 

1 Capt. Absolute at right of stage — Fag left — facing audience. 2 Fag 
going left. s Shake fist at him. 4 Sir Anthony enters left. 5 Shakes 
hands. 6 Looking around the room. 7 Cane under arm — rubbing hands 
together. 8 No. 12 hand plate.. 9 Take the left corner — rubbing hands. 
10 Bowing quite low. u Start back — raise arm — turn to right. 12 Make small, 
careless gesture — face audience. 13 Turn toward him full — No. 2 hand 
plate. 14 Twirling cane. 15 Strike stage with cane. 16 Strut down to left 
corner. 17 No. 5 arm plate. 18 Strike stage again with cane. 19 No. 1 
hand plate. 20 Place both hands behind back. 21 Both characters facing. 
22 Shake finger. 23 Take left corner. 2 * Turn and raise arm. 25 Both hands 
toward Sir Anthony. 26 Strike stage again — gesticulate with cane until 
the end of speech. 27 Shake cane in his face. 28 Repeat action. 29 Swing 
cane and left hand wildly in air. 30 Strikes his own chest with cane. 31 Open 
arms wide apart. 32 Walk very quickly up and down stage. 38 Turn to 
right. 84 Imitate Sir Anthony coming down stairs. 8B Bring hand down 
forcibly from the head. 38 Kick forward the right foot. 87 Kick Fag 
around room. 38 Feeling his bruises. 39 Shakes fist. 40 Kicks boy out of 
room. 



244 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



NATURAL 
TONES 
BUT SAD. 



EARNEST 
QUES- 
TIONING. 



100-FROM THE TRAGEDY OF "MACBETH." 

1 [Three Speakers: Macduff, Prince Malcolm, and 
Eosse.] 

Macd. See, 1 who comes here? 

Mal. My countryman ; but yet I know him not. 

Macd. My ever-gentle cousin ! — Welcome hither. 2 

Mal. I know him now. Kind Powers ! be- 
times remove the means which make us strangers ! 

Eosse. Sir, amen. 

Macd. Stands Scotland where it did ? 3 

Eosse. Alas, 4 poor country, almost afraid to 
know itself ! — it cannot 5 be called our mother, but 
our grave; where nothing, — but who knows 
nothing, — is once seen to smile; where sighs and 
groans, and shrieks that rend the air, are made, 
not marked ; where violent sorrow seems 6 a modern 
ecstasy : the dead man's knell is there scarce asked, 
nor whom ; and good men's lives expire before the 
7 flowers in their caps — dying, or ere they sicken. 

Macd. Oh, relation too nice, and yet too true ! 

Mal. What is the newest grief? 8 

Eosse. That of an hour's age doth hiss the 
speaker; each minute teems a new one. 

Macd. How does my wife? 9 

Eosse. Why, well. 

Macd. And all my children? 10 

Eosse. Well too. 

Macd. The tyrant has not battered at their 
peace ? 

Eosse. No ; they were well at peace, when I did 
leave them. 

Macd. 11 Be not a niggard of your speech: how 
goes it? 

Eosse. 12 When I came hither to transport the 
tidings, which I have heavily borne, there ran a 
rumor of many worthy fellows that were out, — 
which was to my belief witnessed the rather, for 
that I saw the tyrant's power a-foot : 13 now is the 
time of help: your eye in Scotland would create 



FROM THE TRAGEDY OF "MACBETH. 



245 



INTER- 
ESTED. 



LOW. 



LOUD. 



LOW. 



soldiers,, and make women fight to doff their dire 
distresses. 

Mal. Be't their comfort we're coming thither: 
gracious England 14 hath lent us good Siward and 
ten thousand men; an older and a better soldier, 
none that Christendom gives out. 

Eosse. Would I could answer this comfort with 
the like ! But I 15 have words, that would be 
howled out in the desert air, where hearing should 
not catch them. 

Macd. 16 What concern they? the general cause? 
or is it a fee-grief, due to some single breast ? 

Eosse. No mind that's honest but in it shares 
some woe; though the main part pertains to you 
alone. 

Macd. If it be mine, keep it not from me; 17 
quickly let me have it ! 

Eosse. Let not your ears despise my tongue for 
ever, which shall 18 possess them with the heaviest 
sound that ever yet they heard. 

Macd. Ah ! I guess at it ! 

Eosse. Your castle is surprised; your wife and 
oabes savagely slaughtered! — to relate the manner, 
were, on the quarry of these murdered deer, to add 
the death of you. 

Mal. Merciful powers ! 19 What, man ! ne'er 
pull your hat upon your brow; give sorrow | 
words; — the grief, that does not speak whispers 
the o'er-fraught heart, and bids it break. 

Macd. My children too ? 20 

Eosse. Wife, children, servants, all that could 
be found. 

Macd. And I must be from thence ! — 21 My wife 
'killed too? 

Eosse. I have said. 

Mal. Be comforted. Let's make us med'cines 
of our great revenge, to cure this deadly grief. 

Macd. 22 He has no children — All my pretty 
ones ? Did you say all ? what, all ? — Oh, hell-kite ! 
— all ? What ! all my pretty ones,, at one fell 
swoop ? 



246 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 



QUICK. 



PATHET- 
IC. 



Mal. Dispute it like a man. 

Macd. 23 7 shall do so! but I must also feel 2 * it 
as a man cannot but remember such things were, 
most precious to me ! Did 25 Heaven look on, and 
would not take their part? Sinful Macduff, they 
were all struck for thee ! Naught that I ani; not 
for their own demerits, but for mine, fell slaughter 
on their souls ! 

Mal. Be 26 this the whetstone of your sword; let 
grief convert to wrath: blunt not the heart; 
enrage it. 

Macd. 0, I could play the woman with mine 
eyes, and braggart with my tongue. But, gentle 
Heaven ! cut short all intermission 27 front to 
front, bring thou this fiend of Scotland and my- 
very loud, self; within my sword's length set him! — if he 
'scape, then Heaven forgive him too! 



Position of characters : Macduff, center ; Malcolm, right ; Rosse, 
enters left at beginning of dialogue. J Point left. 2 Takes his hand. 
3 Left hand, No. 1 hand plate. 4 Shake head sadly. 5 Put out hand — 
palm up — then point down. a Hand on breast. " Touch head with left 
hand. 8 Left hand out toward Rosse. * Turn toward Rosse — clasp hands. 
10 Repeat same. u Raise head — earnest manner. 12 No. 1 hand plate. 
13 Raise clinched hand. 14 Right hand out. 15 Send hand from mouth 
outward. 16 No. 5 arm plate — look from one to the other. 17 Repeat 
same gesture. 18 Hang the head — great sadness. 19 Advance toward Mac- 
duff — hands extended. 20 Clasping head with hands. 21 Turn toward Rosse. 
--' Hands trembling violently. - 3 Raise hand up — stand straight. 2 * Both 
hands on breast — look up tearfully. 25 No. 4 arm plate. - u Advance — 
No. 8 arm plate. 27 Kneel — action of drawing sword — hold it aloft — keep 
posture till finish. 



APPENDIX 



A FEW REMARKS 



ON 



VOICE AND EXPRESSION 



A FEW REMARKS 

ON 

VOICE AND EXPRESSION. 



VOICE. 

Voice is an audible sound produced by the larynx ; speech or 
articulate language is voice modified in the cavity of the mouth. 

The principal vocal organs are the Diaphragm, the Lungs, 
the Bronchial Tubes, the Trachea, the Larynx, the Vocal 
Chords, the Mouth, and the Ear, 

The Diaphragm is an elastic muscle which divides the stom- 
ach from the lungs. With every inhalation of air, this muscle 
contracts and thus enlarges the cavity of the chest. The spec- 
ial power of this muscle is important in securing endurance or 
"long wind." The habit of taking frequent and deep inspira- 
tions, (i. e. taking breath into the lungs) whilst standing with 
the shoulders well thrown back, greatly increases the capacity 
and power of the organs of breathing. 

The Lungs, which are the special organs of respiration, con- 
sist of two lobes, in substance soft, elastic and sponge like, and 
are composed of a vast number of vesicles or little hollow cells 
into which air pours when the chest is expanded and from 
which it is expelled when the chest is contracted by the action 
of the diaphragm and pectoral muscles. 

Large and capacious lungs are therefore a great desideratum 



A FEW REMARKS ON VOICE AND EXPRESSION. 249 

in a speaker. The lungs are capable of being developed to a 
great extent. The exercise needed to develop this organ con- 
sists in inhaling gradually through a small apperture in the 
mouth draughts oipure air, and gradually expelling the same, 
after having completely filled the lungs. This exercise, how- 
ever, should be dispensed with in wet weather or when the at- 
mosphere is very moist. 

The Bronchial Tubes and the Trachea are the pipes which 
convey the air to and from the lungs and they constitute what 
is called the Wi?idpipe, terminating at the throat in the larynx. 

The Larynx is a sort of box of cartilage across which are 
stretched the vocal chords. Here voice is formed. These chords 
are made to vibrate by the breath as it is expelled from the 
lungs and by these vibrations the breath is converted into sound. 

The loudness and force of the sound depends on the breadth 
of the sound ; it also depends in no slight degree upon the size 
of the resonant cavities as a louder sound by the same concus- 
sion will be produced in a large bell than in a small one. 

The chief vocal offices of the mouth are those of resonance 
and the different varieties of the volume of sound. 

The ear perceives and distinguishes minutely the sounds. 

QUALITIES OF VOICE. 

Bach person has a voice peculiar to himself as to quality. 
The object of elocution is not to change the quality of the voice, 
but to improve it ; to correct what is bad and develop as much 
as possible into good properties. 

A voice is said to be good when its tones are pure, full, clear 
and musical. 

A voice is rightly considered bad when it is characterized by 
an offensive roughness, hoarseness, flatness or by a shrill acute- 
ness or a nasal twang. 

Tones are said to be pure when all the air expelled from the 
lungs in producing the various sounds in speaking is converted 
into sound. 

The ear can be trained by attention and practice to dis- 
tinguish the properties of sound and under the guidance of the 



250 A EEW REMARKS ON VOICE AND EXPRESSION. 

ear, the voice should be often exercised in forming with purity 
of tone the fundamental or vowel sounds A, E, I, O, U, also 
the dipthongs OI, OU. A large draught of air should be inhaled 
through the nostrils, filling the lungs previous to the exercise 
and the sounds of the vowels then given full and round, prolong- 
ing the utterance of each until the lungs are emptied. 

The Key in which the sounds are given can and should be 
varied and the volume or power of the tones gradually in- 
creased. 

Care should be taken in all practice of this kind not to strain 
the voice, but gently and gradually to encourage it to power 
and clearness. 

The exercise should not last too long ; ten minutes daily is 
sufficient time to give to it when the work is faithfully per- 
formed. 

Strength of the voice or power is the capability to utter loud 
and very loud sounds. The power of the voice is dependent 
principally upon the healthfulness of the organs of breathing and 
the size of the resonant cavities. 

The benefits of a strong voice to a speaker or reader are ob- 
vious, as with comparatively little effort he can make himself 
heard in large assemblies without the fatigue and the immense 
strain which a weak-voiced speaker is obliged to undergo. The 
great orators and tragedians have been noted for the great 
power of their voices. 

The practice necessary to attain a strong carrying voice is 
to adopt in the first place, the daily habit of deep breathing ; to 
exercise upon the vowel sounds and afterward joining conso- 
nants to them thus : 



Ba 


Da 


La 


Ga 


Ka 


Ra 


Ta 


Be 


De 


Le 


Ge 


Ke 


Re 


Te 


Bi 


Di 


Li 


Gi 


Ki 


Ri 


Ti 


Bo 


Do 


IvO 


Go 


Ko 


Ro 


To 



Bu Du Lu Gu Ku Ru Tu 

Boi Doi Iyoi Goi Koi Roi Toi 

Bou Dou Lou Gou Kou Rou Tou 



A FEW REMARKS ON VOICE AND EXPRESSION. 251 



B-a-b 


D-a-d 


L-a-1 


G-a-g 


K-a-k 


R-a-r 


T-a-t 


B-e~b 


D-e-d 


1,-e-l 


G-e-g 


K-e-k 


R-e-r 


T-e-t 


B-i-b 


D-i-d 


L-i-1 


Gig 


Kik 


R-i-r 


Tit 


Bob 


D-o-d 


L-o-1 


Gog 


K-o-k 


R-o-r 


Tot 



B-u-b D-u-d Iv-u-1 G-u g K-u-k R-ur T-u-t 
B-oi-b D-oi-d L-oi-1 G-oi-g K-oi-k R-oi-r T-oi-t 
B-ou-b D-ou-d Iv-ou-1 G-ou-g K-ou-k R-ou-r T-ou-t 

The vowels should be given loudly and with purity of sound 
and the first and final consonants should be marked by exag- 
geration. 

The student should cultivate the habit of reading or declaim- 
ing aloul daily ; and if this can be done in the open air or a 
large well-ventilated room, so much the better. 

In other words use the voice and do so often. 

ACCENT. 

Accent is a peculiar stress of the voice given to one or more 
syllables of a word, thereby making it more prominent than the 
others. The syllable accentuated is sometimes indicated by a 
mark called the acute accent, as : similar. 

When the accentuated syllable falls toward the end of a long 
word there may be a secondary or lesser accent, as : recom- 
mendation. 

Accent depends upon the power or force of the voice on a 
syllable and not upon the low or high pitch. 

The grave accent marked thus ( v ) is used to indicate a pro- 
longed stress of the voice and also that the vowel so marked 
forms a separate syllable, as : a learned man ; it likewise marks 
the downward inflection on a word. 

All words of more than one syllable are accentuated by the 
voice in one or more places. The mark is only occasionally 
printed. 

Accent is determined by custom, the standard of dictionaries 
being founded on the practice of good speakers. 

Russell says : ' ' Correct accent is indispensable in reading 
and speaking ; not merely as a convenience of intelligible ex- 



252 



A EEW REMARKS ON VOICE AND EXPRESSION. 



pression, and as a result of education, but as an indication of 
intelligence and a taste in regard to language, and as an element 
of all distinct and spirited expression. 

"The accented syllable of every expressive word becomes the 
seat of life in utterance ; and there can be no surer way of ren- 
dering the exercise of reading unmeaning and uninteresting, 
than to indulge the three prevalent faults of slighting the accent 
of words, unduly prolonging and forcing it, and distributing its 
effects over several syllables of a word, instead of confining it to 
one." 

Words accented on the first syllable : 

accessory admirable advertise blasphemous 

character capillary disputable exemplary 

construe desultory compromise complaisance 

exquisite lamentable mischievous vehement, etc. 

Words accented on the second syllable : 

acumen advertisement antipodes centrifugal 

committee consummate distribute fraternize 

horizon inquiry interpolate museum, etc. 



Words accented on the third syllable : 
acquiescent benefactor coadjutor 

desperado european ignoramus 



colosseum 
simultaneous, 
etc. 



Some words that change the position of the accent according 
to their grammatical character : 



An accent 
An affix 
A compress 
A c6nflict 
A c6nvert 
A rebel 



to accent 
to affix 
to compress 
to conflict 
to convert 
to rebel, etc. 



Hence, when words are properly articulated and properly ?.c 
cented, they are properly pronounced. 



A. FEW REMARKS ON VOICE AND EXPRESSION. 



253 



ARTICULATION. 

Articulation is the distinct utterance of the elementary sounds 
of speech joined together in syllables and words. 

The elementary sounds are the vowels, semi- vowels and con- 
sonants. The vowels being fundamental sounds can be uttered 
alone. The consonants are letters which when joined to vowels 
are sounded with them. 

An effective exercise on the elementary sounds consists in 
uttering them with the most complete exactness singly and 
afterwards in their most complicated combinations. 

Very frequently, if strict attention be paid to the correct 
sounding of all the consonants in words, the vowels will take 
care of themselves ; very often the chief cause of a defective 
enunciation is induced by negligence in this respect. 

Repeat the following words accurately sounding all the 
consonants : 



reflects 


bagged 


hadst 


ambl 'dst 


drifts 


fibbed 


puff'st 


fumbl 'dst 


flints 


edged 


nibb 'st 


humbl'dst 


costs 


digged 


call 'st 


stifl'dst 


schisms 


yelped 


canst 


cling 'st 


sylphs 


swerved 


bett'st 


deaden 'dst 


plinths 


lisped 


hopp'st 


length 


stealth 


swathed 


sapp 'st 


strength 



An excellent practice and an important one is the exercise of 
uttering a number of sentences in a whisper. As vocality and 
non-vocality are eliminated, the only way to make ourselves 
heard by others is by the strength and exactness of the whis- 
pered articulation. 

The very attempt in trying to make persons at a distance 
understand our whispered words, improves the articulating 
faculties. The benefits of a perfect articulation to the speaker 
whether in oratory, acting or in the ordinary conversations of 
daily life must be patent to everybody. A strong voice, mag- 
nificent presence, excellent material, the most profound research 



254 A FEW REMARKS ON VOICE AND EXPRESSION. 

and faultless rhetoric, will be lost to the auditors if the speaker 
is not understood ; therefore strive to attain a distinct enun- 
ciation. 

EMPHASIS. 

The word emphasis, taken from the Greek compound verb 
e/xcpaivu, which means, to bring to light, or to show, is one of 
the important elements in reading and speaking. It brings out 
prominently the words, around which hang the greatest value 
in the sentence, rescuing them from monotonous obscurity, and 
by the force necessary to bring them into prominence, the 
attendant elements are brought into use, viz. • force of voice, 
inflection, time and pitch. 

Emphasis is a stress or force of the voice placed upon one or 
more words in a sentence. The words are often printed in 
italics; those requiring more force, in small capitals; and 
those needing the greatest possible force in large CAPITALS. 

Emphasis should be given to : 

Words and phrases having an important meaning and value ; 

Antethetioal words or phrases that are contrasted or opposed ; 

Important words that are repeated. 

Prof. Mcllvaine says : 

"All emphasis is relative ; that is to say, the degree of promi- 
nence which is to be given to words or phrases, is to be deter- 
mined by the connection in which they stand, and by the 
occasion or circumstances of the delivery. Where the whole 
passage is of a more or less emphatic character, the emphatic 
words require greater or less prominence. 

The highly wrought emphasis of impassioned oratory, would 
be wholly out of place in a parlor reading of the same speech ; 
and in large audiences, a much stronger emphasis is in place 
than in small. 

Propriety requires this relative character of emphasis to be 
carefully observed." 

INFLECTION. 

Inflection is the bending or sliding of the voice when reading 
and speaking ; it is also a part of emphasis, for whenever we 
emphasize we also inflect. 



A FEW REMARKS ON VOICE AND EXPRESSION. 255 

There are three kinds of inflection of the voice : the Upward, 
the Downward and the Circumflex, or union of the upward and 
downward inflections. 

The chief function of inflection is in the expression of senti- 
ment — the sentiment determines the inflection. The upper and 
lower degrees of inflection express the various degrees of pas- 
sion and feeling. Calm thoughts are expressed with but slight 
inflections. 

The upward inflection is used for thoughts that are condi- 
tional, incomplete, and in questions for information. Earnest 
expressions of uncertainty, hesitation, irony take the upward 
inflection. 

When the clauses or words are compared with or opposed to 
one another, the first has usually the upward and the latter the 
downward inflection. 

The circumflex is employed when ideas lack sincerity and 
express jest, ridicule, mockery or sarcasm. 

PITCH. 

The pitch is entirely different from the force and quality of 
the voice and is determined by the number of vibrations in a 
specified time. The varieties in pitch of which the voice of 
man is capable of rendering in flexibility and stretch, is truly 
remarkable. 

The changes of pitch, upward and downward, are one of the 
means for obtaining complete expression both of thought and 
feeling, as many different shades of sentiment cannot be ex- 
pressed by any other means. 

We may mention three kinds of pitch : the high, the moder- 
ate and the low. Pitch refers to the keynote of the voice. The 
student may deliver a sentence, speaking it in the lowest possi- 
ble key ; then repeating it, each time elevating the pitch until 
the highest notes of which the voice is capable have been 
reached. 

Thoughts that lack passion, as the ordinary conversation, 
descriptions or calm reasoning are expressed in the moderate 
pitch of the voice. Violent or uncontrollable passions which 



256 A EBW REMARKS ON VOICE AND EXPRESSION. 

break forth in expression sometimes rise to the highest pitch 
and sink to the lowest, taking in, as it were, a whole octave of 
notes. 

Excessive fear and joy, generally, are expressed in the high 
pitch of voice, whilst the sentiments of awe, sublimity, emo- 
tions of the heart and reverence use the low pitch. 

High Pitch : 

" Alrve ! in triumph ! and Mercutio slain ! 
Away to heaven, respective lenity, 
And fire-ey'd fury be my conduct now ! " 

— Romeo. 
Moderate Pitch : 

" For mankind are one in spirit, and an instinct bears along, 
Round the earth's electric circle, the swift flush of right or 

wrong ; 
Whether conscious or unconscious, yet Humanity's vast 

frame 
Through its ocean-sundered fibres feel the gush of joy or 

shame ; 
In the gain or loss of one race, all the rest have equal 
claim." — Lowell. 

Low Pitch : 

"I am thy father's spirit : 
Doomed for a certain term to walk the night ; 
And, for the day, confin'd to fast in fires, 
Till the foul crimes, done in my days of nature, 
Are burnt and purg'd away. " 

— Ghost of Hamlet's Father. 

PAUSES. 

Pauses are temporary cessations in reading and speaking. 
They are threefold : Grammatical, the Rythmical and the Rhetori- 
cal, and are essential to clearness and comprehension in the 
vocal expression of thoughts and sentiments. 

The Grammatical pauses are the period (•) colon (:) semi 



a. EEW REMARKS ON VOICE AND EXPRESSION. 257 

colon (;) comma (,) dash ( — ) wonder mark (!) question 
mark (?) 

A pause should occur after the subject of a sentence also 
between two nouns in the same case without a connecting 
word. 

When the words, hence, and, but, yet, stand at the beginning 
of a sentence a pause should occur after them. 

Pauses should be made in cases of Ellipsis, that is, where 
words are omitted, and before and after emphatic words. 

Rythmical pauses are those which occur in verse and are of 
two kinds : the cesural and final. The cesural pause divides 
the verse and the final pause closes it. 

The Rhetorical pauses are those occurring in discourses which 
mark the divisions, sub-divisions and paragraphs. They are of 
great use as the}^ impart a clearness to the speaking and aid 
the audience to seize and follow the progress of the discourse. 
Pauses are of great value to the speaker himself as they enable 
him to rest — to inhale deep draughts of air and, if he be extem- 
porizing, to think. 

TinE. 

The time which is occupied in the delivery of sentences, 
paragraphs or the general discourse is quickened, modified or 
made slow according to the demands for the expression of the 
sentiments and meaning. 

Sentiments and thoughts partaking of the sublime, solemn 
and sorrowful require slow time. 

Ordinary affirmations, narrations and the quieter forms of 
emotion use the moderate time. 

Sentiments of great vivacity, sudden joy and fear, mirth, 
confusion require quick time. 

GESTURE. 

Gesture deals with the expressive movements of the body. 
We do not fully estimate the value of action which should be 
cultivated by every speaker for a successful delivery. 

Gesture is the principal element of the symbolic language of 
nature and everyone can understand it. 



258 A FEW REMARKS ON VOICE AND EXPRESSION. 

It is sometimes more expressive than words. We not'ce that 
rage frowns, terror turns pale, shame blushes, joy laughs or 
smiles, kindliness beams in the eyes, hopelessness drags the hair 
and gnashes the teeth. 

By the aid of gesticulation the speaker can present his feel- 
ings to the eye of his audience, while his words address them to 
the car. 

We have seen and appreciated the efforts of pantomimists who 
by their action have afforded us an intelligent enjoyment for 
hours. 

Gesture should be appropriate to the sentiment and feeling. 
Hamlet's advice to the players " suit the action to the word, " 
should be kept in mind. 

The erect posture gives the chest full chance to expand and 
inhale the air fully. 

D) not lean on anything for support as if fatigued or lazy. 

The hands should not be thrust into the pockets nor inside 
the vest, nor clasped behind the back nor locked in front — they 
should hang naturally by the sides of the body when not in use. 

The countenance should vary with the sentiments and pas- 
sions. The eye which is the most expressive of all the features 
should be directed toward the audience, watching, controlling 
them. 

The orator must look at the audience, scan their faces and 
Strive to command their attention and rouse their sympathy. 

C. J. Birbeck. 



God-Speed * We " S^^SS 1 *™ 

With an Appendix of Prose Compositions, 
Salutatory Addresses and Valedictory Orations for School Festivals* 



TRICE, Bound in Cloth, 



- 75 Cents, 



TABLE OF CONTENTS. 



New Year's "Wishes : 


To Bride, 




On the Wedding Day, 
Home Coming of aYoung 


To the Parents, 12 nos. 


" Father, 2 


Couple, 


" Mother, 2 


With Flowers, 


To Grandparents, 2 
" the Grandfather, 2 


Verses for Jubilees : 


" •' Grandmother, 2 


On Presentation of a Silver 


" Uncle or Aunt, 2 


Wreath. 


" Brother or Sister, 4 


For a Silver Wedding. 


" Teachers, 5 


" Golden Wedding. 


" Clergymen, 1 
" a Friend. 3 


Grandparents' Golden 
Wedding. 




Anniversary of an Employee 


Birthday "Wishes : 


Anniversary of a Clergyman 
A Teacher's Anniversary. 


To the Father, 9 




" Mother, 10 


Poems for various Cele- 


" Grandfather, 5 


brations : 


" Grandmother, 3 
To Uncle or Aunt, 2 


Reception of a NewTeacher. 


" Teachers, 5 


School Children's Welcome 


11 Clergymen, 1 


to a Clergyman, 
Installation of a Clergyman. 


Christmas Wishes : 


Anniversary of a Society. 


To Parents, 4 


Verses of Farewell : 


- 


To a Friend. 


Verses for Engagements 


" Teacher. 


and Marriages : 


Epitaphs and Inscriptions 


To an Engaged Couple, 3 


for Tombstones : 


" Bridegroom, 1 


General Inscriptions. 



Special Inscriptions ; 
For a Child. 

" Youth. 

" Young Girl. 

" Father. 

" Mother. 
For Parents. 
For a Husband, 

" Wife. 

" Clergyman. 

" Religious. 

" Teacher. 



Elegies 



for Deaths 
Burials : 



and 



At the Grave of a Clergyman 
At the Grave of a Teacher. 

Prose Compositions: 

Expressions of Faith, Grati- 
tude, and Good Wishes 
suitable for Addresses, 
Betters, Memorials, 
Resolutions, Testi- 
monials, etc., to Teachers, 
Clergymen, etc., etc. 

Salutatory Addresses: 

For School Festivals, 5. 

Valedictory Orations : 

For School Festivals, 5. 



From the above description, and contents and specimens of GOD-SPEED found on next 
page, the great usefulness and opportuneness of this entirely new and original book will be 
apparent. 

Every piece in this book has been especially composed and written for it by competent 
and gifted writers, and, while exaggerated and bombastic style has been scrupulously avoided, 
care has been taken to render the pieces, in thought and expression, worthy of the name Poetry. 

A book of like character and scope has not existed, in our language, previous to this. 

This UNIQUE BOOK supplies appropriate sentiment, clothed in beautiful language, for 
joyful and pathetic events in human life, and there is hardly anybody to whom the book 
would not be eminently serviceable on many occasions. 

For Schools and Educational Institutions this book is altogether indispensable. The 
appendix of SALUTATORY ADDRESSES and VALEDICTORY ORATIONS for School 
Festivals will be to them of special service. 



Recitations <with Actions, For autdren. 

By LUCY ALLEN* 
^Price, 40 Cents. 

Recitation should be included among the subjec's taught to young children 
for many reasons, but chiefly because it increases the child's stock of words. 

The greatest difficulty in any school, especially in an INFANT'S SCHOOL, 
is to battle with the limited knowledge of words, and hence with the limited 
means of fixing or expressing ideas. Not only is our vocabulary increased by 
learning poetry, but the mind is furnished with good thoughts and graceful 
expressions. 

The memory is also strengthened by this exercise, and, as a child's time is 
valuable, care has been taken in this book to choose such pieces as will prove 
fruitful of the greatest possible good to the learner. 

The pieces are simple, as they are intended for the Very Youngest as well 
as for those who have made a beginning. 

All of them are accompanied by ACTIONS. This is necessary, as a young 
child gains delight from mere motion of the limbs, while his love of imitation 
is very strong. Moreover, he possesses a ceaseless activity of body, which must 
be used if his mind is to be occupied for even a short time on any subject. 



SPECIMEN OF CONTENTS. 

A LITTLE COCK-SPARROW. 

A little cock-Sparrow, J l Cross the two forefingers so that the one 

He sat on a tree, represents the bough and the other the 

He hopped* and he skipped. s g£2££ d lower the right forefinger to imi- 

So merry was he. tate hopping. 

A little boy came 

With bow and arrow, 3 3 Curve the left arm to imitate the bow and 

And <;aid " T will «*hr>oH let the ri 2 ht arm form the arrow - 

Ana saia, l will snoot 4 Move the ri ht arm quickl forward as in 

1 hat little cock-sparrow. shooting the arrow. 

' ' His head 5 will make 5 point to each part as it is named 

A nice little stew ; 
His body will make 

A nice pie too." 

" ° h J J?'" - wid.the sparrow, 6 shake the head . 

" That never will do," 

So he spread out his wings* 7 Raise thearmsand dro0 pthe hands, raise and 

And away he new. lower them to imitate the action of flying. 

Etc. 



TWO CANTATAS FOR BOYS. 

A New and Novel Entertainment for Patriotic Occasions* 

COLUMBIA. 

THE TRIBUTE OF THE COLONIES. 

A Patriotic Cantata, By Alexander Bircha.lL 
PRICE, - 60 Cents. 



CONTENTS. 

No. J. Hail Columbia. No. 2. Hawaii. No. 3. Cuba. No. 4. Philippines. 

No. 5. Guam. No. 6. Porto Rico. No. 7. Finale. 

No, 8. Star Spangled Banner. 



Curtain rises upon a guard of American soldiers and sailors, grouped around 
a centre formed by a soldier and a sailor, standing on an elevated platform, 
and holding two U. S. flags crosswise. Hidden by these flags from the view of 
the audience stands the figure of Columbia, personified by a girl or boy in 
suitable costume. The colonies in their national costumes come marching in 
upon the stage, with their standards, sing their number, and take position 
in semicircles right and left of guard. After all the colonies are assembled, 
the captain commands: "Attention, Present Arms!" At these words the flags are 
brought apart, revealing Columbia, soldiers and sailors present arms, all others 
kneel down, raising their weapons high toward Columbia and the Star Spang- 
led Banner is sung by all, while red light is thrown on the tableau. Thus a 
fine effect is produced, especially if the audience is made to join in the " Star 
Spangled Banner." While in first place intended for boys, a very pretty 
picture may be had by adding some girls in the national costumes to each 
colony. 

A PEACEFUL ASSAULT. 

Musical Comedy for Boys. By George cAtherton. 
PRICE. - 50 Cents. 

The Mayor is candidate for a higher office and his subjects surprise him 
by waiting upon him in delegations, letter-carriers, policemen, cadets, chorus 
boys, firemen, a drum and five corps, to assure him of their loyalty and support. 
This comedy is specially suited for schools and colleges having at disposal a 
LARGE NUMBER OF BOYS. The music is original, easy and melodious. 
The various delegations marching upon the stage to the merry strains of music, 
or singing spirited songs, present a pretty spectacle. A very amusing enter- 
tainment, certain of enthusiastic reception. 



" The audience went wild over the ' Peaceful Assault,' and it was hard to tell who were 
the proudest, the young actors, or their parents and relations, etc." — From the letter of a Teacher. 



A COMEDY OF ERRORS; 

or, The Cousin and the MaicL 

An Operetta for Young Ladies, in One Act* 
By GEORGE ATHERTON. 

Price, per Copy, Words and Music, 50 Cents* 

^* ^* %6* 

CHARACTERS. 



Anna, A Young Lady. 
Rose, Her Cousin. 



Sarah, The Maid (Fresh from the 
Country). 



Anna is entrusted with the reins of the household during her mother's 
absence. Both, a cousin, whom she has not met before, and the new servant 
girl, are due just that day, and Anna is unfortunate enough in taking one 
for the other, and serving out treatment accordingly. The situations are 
highly comical. The music is easy and pleasing. No scenery required. 

^7* V?* ^* 

MUSIC NUMBERS: 

No. I. Overture. 

" II. Anna's Song. 

" III. Sarah's Song. 

" IV. Duettino (Sarah and Anna). 

" V. Rose's Song. 

11 VI. Finale (Dance and Ensemble). 




THE PIGEONS; ^^fe^ 58 

AN OPERETTA, 
For trie Stage and ttie Drawing-Room. 

By RICHARD HARDMAN. 
Price, 60 Cts. 

The characters (five) are Breton peasants, affording opportunity for pretty and 
picturesque Costumes. 

The text is of clever, dramatic construction, sparkling with wit and humor. An 
exquisite, dashing and highly effective operetta. 



Fifine's Song of 
The Engaged Young Man. 

A maiden's heart is often torn, 
The orange blossom hides a thorn, 
And who can teach the wisest plan, 
That girls who fish may land their man ? 

One day he finds Miss Susan plain, 
The next he walks with Mary Jane ; 
He whispers Blanche, behind her fan, 
And he kisses May — the engaged young man. 

He tires of Nell ; at an early date 
He gives a lock of his hair to Kate : 
And he slips love verses (that do not scan) 
Into Maud's bouquet — the engaged young 
^ man. 

He finds that Clare is not his taste, 
When his arm is round sweet Emmie's waist; 
And he gives his photo next week to Ann, 
For change is the motto of th' engaged 
young man. 



Frangois'' Song 
"What a Crowd of Love Tokens, Etc, 

What a crowd of love tokens I've promised 
to keep ; 

What ribbons and letters I've burned in a 
heap ! 

I have cherished old gloves (with the thumb 
of them torn), 

When I thought that these frailties my pop- 
pet had worn. 

Brief days of remembrance and short- 
lived delight, 

In a fortnight at most I'd forgotten them 
quite ; 

Like the carte, yes the carte, by the sands 
of the sea. 

With my poppet of old, on the edge of the 

deep, 
I stood for my portrait — the likeness was 

cheap ; 
But the lady next day had grown weary of 

me. 
And the talented artist still waits by the sea. 
As I wandered no more on those seaweedy 

sands, 
The photographer's left with my carte on 

his hands ; 
My carte ! oh, my carte ! on the sands of the 

sea, 
Oh, I thought not, I thought not, of paying 

for thee. 



j*J>A New Collection of Musical Drills by Richard Hardman.j*e* 



cN&u) drills and 'Dances 

For Girls and Boys. 

A NEW SERIES OF MUSICAL DRILLS 
AND HUMOROUS ACTION SONGS* 



BY RICHARD HARDMAN. 



TRICE, 



75 CENTS. 



CONTENTS. 



The Princess Gavotte. 

A graceful Dance for Girls. 

The Flag we Love Q 

Action Song and March. 

Busy Little Workers. 

(Housemaids and Cooks.) 
Humorous Drill and Polka. 

Spanish Minuet. 

A Tambourine Dance Drill. 

Drill of the (Hobby) Horse 
Brigade. 

Amusing Action Song. 



Fond Little Mothers. 

A Doll Drill. 

Washing Day. 

Amusing Laundry Scene. 

The Broomstick Brigade. 

Humorous Action Song. 

Ornamental Scarf March 
and Drill. 

Novel and very pretty. 

Skipping Song. 

Lively and Humorous. 

Maypole Dance. 

With Full Directions. 



Classical Art Balance Motions for Girls, 

Physical Exercises accompanied by Song and Music, 
intended to Exercise all the Muscles and to give a 
GRACEFUL DEPORTMENT to the Whole Body. 



The above volume is siure <o share the great success and popularity gained 
by the same author's "New Musical Drills and Humorous Action Songs," some 
of which, for instance, the "TOPSY-TURVY SONG," and ' OUR BABY," 
have had an unprecedented success. This new collection is of the same ex- 
cellence ; the "Drills" are novel and interesting — the "Dances" graceful 
and exceedingly pretty, and the airs lively and pleasing. The "Classical Art 
Balance Motions" wi 1 be of great and special value as REFINED and GRACE 
FUL CALISTHENICS. 



SHEW "DRILLS AND VANCES. 



BY RICHARD HARDMAN, 

(See Page 31.) 



Classical Art Balance Motions for Girls. 

For the Development of Grace of Action and good carriage, also for th( 
strengthening of the physical part of the hody. 




£x.8. 



v-v.. .«■»•• •" =r - 



Fig.8. Heels together, head erect, bo'th hands fully 
extended in front, level with chin. 

1st movement. — Advance right foot, left on toe 
behind, and throw both hands as far to rear as pos. 
sible, palms turned upwards. 

2nd movement. — Spring lightly back into start. 
ing position, viz., heels together, both hands ex. 
tended in front. (Repeat 8 times.) Repeat start . 
ing with left foot forward. (Repeat 8 tiroes.) 



—' 




£ 








FIG. 8. 










iwm J j 




















1 












\9*A H 










«|4«p *p — 


















L J-H 










■ 


-w^- 





Maypole Exercises. 

— INSTRUCTIONS.*- 




'May -Pole dances and exercises, form a very pleasing and 
healthful means of recreation for children of both sexes, and 
the Author hopes that the following instructions may aid in 
popularising this time-honored pastime among the children of 
the present day. The "May-Pole',' consists of a stout polished 
pole with a revolving head-piece, to- which the gaily-colored 
ribbons are attached. The pole can be made to screw to the 
floor for use indoors, or to sink into the ground for outside 
use. The exercises must be performed by "an equal number 
of children, each child having one ribbon. In describing the 
exercises eight has been selected as a convenient number. The 
accompanying song is usually sung whenever the command 
"March" is given. A „ 

Words of command— "March'' ""Ribbons" "Salute" Ihrections.— "Salute. 

Arrange the children^if consisting^ of boys and girls, in alternate order, 

Fond Little Mothers. 

The children maybe attired in night gowns and caps, or in the ordirtarygarb with white a. 
prons. They shouldeach nurse a doll. The verse pari may be sung as a solo, or by a Selected few. 



Piano. 




THE FAMOUS TOPSY-TURVY ACTION SONG. 




y W^jfor b ^ fAr 

TWEW MUSICAL DRILLS AND 

k * HUMOROUS ACTION SONGS 

For Boys and Girls. 

Suitable "Words. Pleasing Airs* Full Directions. 
Novel, Amusing and Effective. *£><£ For Schools and Entertainments. 



Arranged by RICHARD HARDMAN. Price, complete, $L00. 



TOPSY-TURVY SONG,— A Novel and Pleasing Action Song and Drill. 

THE MIRROR DRILL,— Musical Exercise. 

MY UNCLE'S FARM,— Humorous Action Song, with Chorus. 

OUR BOOTBLACK BRIGADE,— Character Song, with Chorus. 

UNCLE SAM'S LITTLE DRUM BOYS —Character Song, with Action 

and Chorus. 
INDIAN CLUB DRILL, OR TAMBOURINE DRILL. 
LITTLE LETTER CARRIERS,— Humorous Action Song, with Chorus. 
THE CHILDREN'S FROLIC— Vocal Gavotte, Chorus and Dance. 
THE PEDLAR, — Amusing Character Sketch, Action Song and Chorus. 
THE MERRY DAIRYMAIDS,— Character Song, with Action and Chorus. 
OUR BABY,— Musical Recitation for very little Children, Solo and Chorus, 
RECESS DRILL,— Humorous and Lively. 
MUSICAL FLAG DRILL, OR FAN DRILL. 
THE RAINBOW RIBBON DRILL. 

UNCLE SAM'S JOLLY TARS— Action Song, with Chorus. 
(NOT SOLD SINGLY.) 



IN EW MUSICAL DRILLS and HUMOROUS ACTION SONGS. 



By RICHARD HARDMAN. 



(For Particulars see preceding page.) 



"Our Baby." 

(Recitation, Solo with Chorus.) 

Directions. 

The Recitation and Solo should be taken by as small a girl as possible. 
The Chorus refrain should be sung very softly throughout, and is most 
effective when unaccompanied. - , t 

If only two parts are available, the l s -t and 2™ treble parts should [be 
taken, with the exception of the last two bars, when the 2 n <i trebles 
should take the two bars given in the copy to the contraltos. In this case 
the piano should be used. . , , .. „ . 

The spirit of the words will readily suggest to the teacher the"way" in 
which the piece should be said. 

1. 
Eecite. You havn't seen our baby yet, he's not been out I know, 
He only came quite lately, just about a month ago,- 
But he's such a little beauty, with a pretty dimpled chin, 
His eyes are bjue as can be, and so soft and white his skin; 
He's going to be my brother, and I'm very very glad, 
I shall have a little playmate when he gets a bigger lad. 
But at present he does little else than lie and sleep all day, 
And often when I'm noisy, I can hear my mother say.- 



Recite. He has such tiny hands and feet, not half so big as mine, 

And mother says there lovely, and their shape she calls divine,- _ 
I don't know "zactly what she means, but think it's something nice, 
In fact, I'm sure it must be, for I heard her say so twice; 
I sometimes seem to fancy that he tries to laugh and crow, 
He doesn't really laugh as yet, he's so very young you knowj 
But soon he's off to sleep again, and I run out to play, 
For if I stayed with baby long I'd soon hear mother say: 
Sing. Move about softly, etc. 

m. 

Recite. You must call and see the baby when you're coming on our way, 
He'll be "at home" to visitors for two hours every -day ; 
I couldn't let you nurse him, tho' I know you'd like to try, 
For he's not got used to strangers, and you'd sure to make him cry; 
But I'll tell you all about him, and what's to be his name, 
And_how very pleased my father was the day the baby came,- 



VOICE. 




PIAtfO. 



slumb' - ring, sound and deep; Don't make a noise, dear, 



»*tlK fldoentum au 



Dtde Red Riding Rood 

offlV OPERETTA IN FOUR ACTS FOR U&TOVm 



RICHARD HARDMAN. 

ataffic cf '^vibil IMIj mxJ Hamonus cActkm^mga i" "Vie 9lftaui or. Oil 
L~u of Sffltoo>." ft*«K«; "CUrlsstS Ftot <Pm*3>" SiasluX < 




Pr/ce, 



. ^.75, 



CHARACTERS: 



Little Red Riding Hood. 

Red Riding Hood's Mother. 

The Robber Wolf. 

Grandmother. 

Anthony (Red Riding Hood's 

Playmate). 
The Town Crier. 
The High Sheriff. 

The characters are to be assumed by larger and smaller children. The 
music, while merry and melodious, is very easy, the chorus parts being in 
unison. A delightful and successful entertainment. 



Mary Anne and Jemima (Women 

of the Village). 
Peter and Patrick (Men of the 

Village). 
Huntsmen, Villagers, Bandits, 

Dancers,. Bride and Bridegroom, 

etc., etc. 



No. 



I. 

II. 
III. 
IV. 

V. 

VI. 

VII. 



Overture. 
Chorus of the Villagers. 
Hunters' Chorus. 
Introduction to Act II. 
Terzetto (Mother, Red Rid 

ing Hood and Anthony) 
Introduction to Act III 
Butterfly Song (Red Rid' 

ing Hood;. 



MUSIC NUMBERS: 
No. VIII. 



IX. 

X. 

XI. 

XII. 

XIII. 

XIV. 
XV. 



Duet (Robber Wolf and 
Red Riding Hood). 

Bridal Chorus and Dance. 

Country Dance. 

Introduction to Act IV. 

Lullaby (Grandmother). 

Duet (Anthony and 
Patrick). 

Hunters' Song. 

Soli, Ensemble and Finale. 



The Adventures of Little Red Riding Hood 



o4n OPERETTA, in Four Acts, for THE YOUNG. 



(For Particulars, see opposite page.) 



Chorus 



PIANO 



Hunters' Song. 




A - live 01 dead, well bring his head, his head,his head, tra-la- la- la- 
Our chil-dren dear, no more shall fear, shall fear, shall fear, tra-la- la -la 




Bridal Chorus. 



Musicians and dancers appear on the scene. First come two fiddlers, their violins trimmed with 
ribbons-, then follow the bride and groom and the dancers in couples. The bride wears a white mus- 
Hn grown with while veil and wreath of flowers. The bridegroom, blue suit with knee breeches, white 
vest and white stockings, hat trimmed with ribbon and flowers. The dancers may be the village 
men and women, their dress brightened with flowers and ribbons. The children, girls in white 
dresses, colored ribbons and stockings; boys dark suits, colored stockings, and ribbons around the' 

hats. 



Chorus: 






Spright-ly_ come, oh joy-ous comrades, Let us_ 


sing and let us 


( 










PIANO.? 










( 











^ A The Grandmother. . 


Lullaby. 






^ k Sleep 


.sleep, little one 


sleep.Poor old 


granny is s.o 


lone-ly, Sleep, sleep, pretty one . 




*VjV 


Y 


jg^ 




XJ i 












II * 




MUSIC NUMBERS, 



i. Opening Chorus. 

ia. Chorus. 

2. Roast Beef Duet (Hedwig and 

Madelon). 

3. The Sweet Dish (Madelon). 

4. The Trout (Clara). 

5. Steak Duet. 

6. Game— Chorus. 

7. Ice Cream Duet (Hedwig and 

Madelon). 

7a. Chorus. 

8. Song of the Kitchen Maid. 
o. Kitchen-Work Duet. 



10. Recitative. 

10a. Lemon Cream Receipt. 

11. Wine Punch Duet (Clara and 

Hedwig). 

12. Song of the Welsh Rare-bit (Delia). 

13. Boiled Eggs (Delia). 

14. Jellies and Jams (Susie). 

15. Marion Harland Hymn— Chorus. 

16. Spoiled Dishes (Soli and Chorus). 

17. Recitative. 

18. The Kitchen Polka, with Improvised 

Instruments (Kitchen Utensils). 




i. Overture. 

2. Susie's Opening Song. 

3. Duet (Mollie and Minnie). 

4. Ellen's Bicycle Song. 



MUSIC NUMBERS: 

5. Ice Cream Polka. 



6. Vassar College Song (Jessie 

Quigg). 

7. Gavotte — Song and Dance. 

8. Chorus — FinaJe. 



N&w Operettas, Musical Comedies, Etc* 

&r* &?* ^7* && 

COLUMBIA*— THE TRIBUTE OF THE COLONIES. 

A Patriotic Cantata for Boys. —By Alexander BirchalL 
Words and Music - $0.60 

A new and novel entertainment, in which delegates from Uncle Sam's new 
wards, Porto-Rico, The Philippines, Guam, Hawaii and Cuba appear to pledge 
their allegiance and avow their loyalty to Columbia. As a large number of 
boys may appear in this cantata, it is specially suited for schools, and will 
be found a most successful entertainment especially on patriotic occasions. 
The cantata may also be very effectively performed by having girls take 
part in it. 

The Adventures of 
Little Red Riding Hood. 

An Operetta for the Young, in Four 
Acts. By Richard Hardman. 
Words and Music, - - $0.75 

The characters are assumed by larger 
and smaller children. The music while 
merry and melodious, is very easy, 
the chorus parts being in unison. A delight- 
ful and successful entertainment. 

A Frolic in the Cooking Class; or 
Debutantes in the Culinary Art 

A Musical Burletta for Eight Young 
Eadies. —By Richard Thiele. 
Words and Music, - - $0.75 

A number of winsome young autocrats 
of the kitchen, armed with cooking utensils, 
which they use as "musical" instruments, 
unfold, in charming and humorous musical 
setting, the profound mysteries of their 
noble art. A Kitchen-Polka and a Marion 
Harland Hymn are among the features of 
this frolic. 



Clarissa's First Party. 

A Musical Comedietta for Nine Young 
Sadies. By Richard Hardman. 
Words and Music - - $0.75 

A charming entertainment, full of harm- 
less fun and drollery. Ellen Pert, a bicycle 
girl, and Jessie Quigg, a Vassar girl, figure 
prominently in the proceedings. 

A Comedy of Errors; or, 
The Cousin and the Maid. 

An Operetta for Young Sadies, in one 
Act. — By George Atherton. 
Words and Music - - $0.50 

Written for three characters. The music 
is easy and mirthful. The odd complications 
are very laughable. No scenery required. 

The Pigeons; or, The Bonny 
Lass of Brittany. 

An Operetta for the Amateur Stage 
and the Parlor. By Richard Hardman. 
Words and Music - - $0.60 

The characters (five) are Breton peasants, 
affording opportunity for pretty and pictu- 
resque costumes. The text is of clever dra- 
matic construction, sparkling with wit and 
humor. An exquisite, dashing, and highly 
effective operetta. 

New Musical Drills and 

Humorous Action Songs 

For Boys and Girls. 

Arranged by Richard Hardman. 

$1.00 
Suitable Words ; Pleasing Airs ; Full Di- 
rections and Diagrams. Novel, Amusing 
and Effective for Schools and Entertain- 
ments. Containing the famous "Topsy- 
turvy Song" and "Our Baby," musical 
recitation, etc. 



A Peaceful Assault. 

A Musical Comedy for Boys, in One 
Act. — By George Atherton. 
Words and Music, - - $0.50 

From thirty (or less) to sixty or more 
boys may take part in this comedy, which 
is especially suited to the needs of schools 
and colleges. Brisk, tuneful music, and 
pretty, quickly changing tableaux, ensure 
for this operetta an enthusiastic reception 
whenever performed. 

New Drills and Dances for 
Boys and Girls. 

A New Series of Musical Drills and 
Humorous Action Songs. By Richard 
Hardman. - - - - $o-75 

The great success and popularity gained 
by Hardman's "New Musical Drills and 
Humorous action Songs" has suggested 
the issue of this new series, which will be 
found of the same excellence. For contents 
of these two books of Drills see other pages 
in this catalogue. 



APR 4- 1902 



APR 4= 1902 



LIBRARY OF CONGRESS 

021 100 504 A 



